Here is a nice video of a performance by Johann Lippowitz of his ‘signed’ version of Torn. It is really a classic performance of which many movies have been shown earlier. Only this time, Natalie Imbruglia joins him halfway, and the two add some nice touches to the routine.
Johann Lippowitz (real name David Armand) performs his mime version of Natalie Imbruglia’s ‘Torn’.
Yes, we all know that he does the guitar slide wrong. Get over it. It’s still really funny.
Without a doubt, his quasi-signing has pissed off many a serious singing-to-signing translator, because, needless to say, it is not any real sign language that he uses. So, is he making a mockery out of signing? Could be. Is that a bad thing? Only if you think that ASL or any other sign language needs to be put on a pedestal and glorified. In general, as any politician will tell you, being the butt of a joke is something to take in full stride. Just laugh along with all the rest, and if you can, play along and take the joke to a next level. Mind you, I am not saying it is weird to take offense at the joke if you are Deaf and proud of your sign language. But if you can’t beat the joke, join the laughers. It is the only effective strategy really.
It turns out, after a bt of ‘tubing’, that Johann Lippowitz (real name David Armand), has done quite a few songs in this way:
Hero of the ‘once nearly lost art of pantomime’, Marcel Marceau (images), has recently died at the age of 84.
Pop-out A nice tribute (proceed to many others at YouTube at your leisure)
Mime Marceau was born as Marcel Mangel in Strasbourg, France. He died on September 22 this year. From what I gather of the many tributes and obituaries he was an exceptional mime artist. He is often said to have revitalized the art (even singlehandedly ). That he enjoyed world wide recognition is illustrated by an older movie from a trip to Japan, where he is warmly received. Or possibly the Japanese are simply very fond of pantomime?
It is strange how this art, which is so cherished and admired by some, is unappreciated by others. The wikipedia says: “Of [Marceau’s] summation of the ages of man in the famous Youth, Maturity, Old Age and Death, one critic said: “He accomplishes in less than two minutes what most novelists cannot do in volumes.”.
But if you read research on gesture or sign language, pantomime is often what the writers set themselves off against. It is often used to make distinctions between that which is studied (linguistic or at least semiotic systems) and that which is not studied (mere pantomime). There are also those who seek to distinguish different gestural mechanism in signed discourse (where signers may alternate pantomimic and lexical/grammatical strategies to convey meaning) who talk about ‘gesture versus sign’. To me that is a strange distinction, for even ‘frozen’ (in the sense of Cuxac and Sallandre) lexical signs are gestures in my definition. What would be more appropriate is to label it ‘pantomime versus sign language’, if you wish to indicate a difference in level of conventionality.
I think it could be very productive to study the mechanisms by which mime artists create meaning or express themselves. In countless gesture studies the iconic nature of gesture has been treated (from Tyler (1870) to Mueller (1998)). Each time the same mechanism emerge: meaning is created through imitation of acts, through embodiment, and through molding and sketching in the air. The same appears to be true of pantomime. At least those strategies are certainly used. But there may be more.
Poetry pushes the boundaries of what can be done with spoken or written language. Perhaps mime as an art form pushes the boundaries of what can be done with gesture? I believe sign language poetry and pantomime are brothers in arms. Not only is beauty thus created, but people are shown new ways to express themselves more eloquently in gesture.
Here is the Air Guitar World Champion 2007, Ochi “Dainoji” Yosuke (Japan) performing at Air Guitar World Championships 2007, Oulu, Finland:
What a nice gesture performance: the pantomime, the gestures, the emotional expressions, the mimicry of the actual guitar play, and of course the dramatic gestures of a lead guitar player on stage. It makes me realize that a language may be found around in every hidden corner of human activity. In this case Dainoji shows a hilarious command of the body language of lead guitars.
It also makes me wonder what exactly would remain of ‘musical gestures‘, when all of a musicians ‘body language’ were hidden to the audience? I guess something would remain, and that would then be the real musical gesture.