When I got older I had AR "consultations", where the
consultants' goal is to induce guilt, break your will, and
steer you closer to proclaiming your undying devotion to
Aesthetic Realism and Eli Siegel. These things are absent
from my lesson with Siegel below, since I was only two --
but there's certainly enough other bizarre stuff of interest
in that lesson.
|
|
[Eli Siegel enters crowded classroom. MAF is
wandering about]
|
|
ELI SIEGEL
|
Where is this child's mother?
|
|
JEAN FREEDMAN
|
Right here.
|
|
ES
|
Does this person do much wandering?
|
|
JF
|
Yes he does, Mr. Siegel. He very rarely sits
still.
|
|
ES
|
Ask him, because it's good to be conscious.
Would you ask him: Do you do much wandering?
Michael Andrew, your mother is going to ask you
something.
|
|
JF
|
Michael, do you do much wandering? [NO
REPLY]
|
|
ES
|
[to JF] Do you do much
wandering?
|
|
JF
|
I certainly do, yes.
|
|
ES
|
So how would you describe the feeling of Michael
Andrew at this time? It's a very human feeling.
|
|
JF
|
Well, I think he's trying to place where he
is.
|
|
ES
|
Use one adjective.
|
|
JF
|
Oh, adjective.
|
|
ES
|
Yes.
|
|
JF
|
Wondering.
|
|
ES
|
Wondering--all right. Mr. Freedman, you use an
adjective. I want to say that Michael Andrew can
have a couple hundred adjectives used of him.
|
|
ROGER FREEDMAN
|
I think content. I think he's contented.
|
|
ES
|
Content?
|
|
RF
|
Yes.
|
|
ES
|
I hope so, but would you say he was puzzled?
|
|
RF
|
Yes.
|
|
ES
|
Would you also say that if he's going to be
restless soon he'd be elusive? Well, Miss Tarrow,
would you use an adjective about Michael Andrew?
You're supposed to know something about mind.
|
|
DEVORAH TARROW
|
Delighted.
|
|
ES
|
Would you say he was competitive?
|
|
DT
|
Yes.
|
|
ES
|
He was delighted? [TO MAF] Look, are you
competitive? Are you? Do you know the free
enterprise system is vanishing? Didn't you hear
about the Left [LAUGHTER FROM COMPANY] Are
you competitive? All right, you can't answer. Mrs.
D'Amico--we can have another adjective about you.
[MAF PLAYS WITH HIS HAIR] Would you say he
was pretty?
|
|
BARBARA D'AMICO
|
Yes.
|
|
ES:
|
Yes, let's be phony for a while. [LAUGHTER.
TO MAF] Are you pretty? Chuck Vinard is pretty.
Are you pretty? [MAF IS STANDING, CURLING HIS
HAIR. LAUGHTER] Mr. Bonola, would you use an
adjective about him?
|
|
ALAN BONOLA
|
Modest.
|
|
ES
|
Modest? I'm not sure about that. [COMPANY
AGREES] I'm not sure.
|
|
ALAN BONOLA
|
I would say a little bewildered.
|
|
ES
|
Yes, I would say so. I think he's a little
tentative. Miss Carpenter?
|
|
MARGOT CARPENTER
|
I think he's being critical.
|
|
ES
|
He is critical, but I don't think that primitive
children--Mr. Perey, would you say that primitive
children wear jumpers? [LAUGHTER. TO MAF]
See, right away you gave yourself up as primitive.
So he's unprimitive?
|
|
ARNOLD PEREY
|
He is.
|
|
ES
|
You see he's wearing something that you wouldn't
associate with an island. Mr. Hampton?
|
|
RAY HAMPTON
|
Curious.
|
|
ES
|
Curious--but what's an obvious thing? I don't
know, which one do you want--ask him which one he
wants--does he want to be called immature or
younger, secretly. Ask him what does he want to be
called. [CHUCK VINARD ASKS MAF SECRETLY WHICH
HE WANTS TO BE CALLED] Which one? Did he
say?
|
|
CHUCK VINARD
|
Young.
|
|
ES
|
What is an adjective you'd give Michael Andrew?
Very often young people are--also older people.
Silent. Now, what's another word for silent that
rhymes with ill?--Chuck Vinard? It's a synonym for
silent. Still. It rhymes with ill--does it?
|
|
CV
|
Yes.
|
|
ES
|
All right. And what is a word which is the
antonym of still and rhymes with "New Joisey"?
[LAUGHTER]
|
|
CV
|
Noisy.
|
|
ES
|
Is this person noisy?
|
|
JF
|
Yes.
|
|
ES
|
[TO MAF] Would you favor us with some
noise? I want to tell you this, when Alan Kellerman
was first here, he raised hell. He wasn't silent
the way you were. He raised hell and everybody knew
he was here.
|
|
EVELYN KELLERMAN
|
I'm very affected because Alan wore something
very similar and was about that size. He was very
different--he did raise hell.
|
|
ES
|
That's right. Now, what is a girl's name, Mrs.
Kellerman, that rhymes with hell? Nell.
|
|
RAY HARRISON
|
Or Belle.
|
|
ES
|
And Mr. Freedman, what is a word that is in
assonance with Michael?
|
|
RF
|
In assonance with Michael?
|
|
ES
|
Yes, almost a rhyme--not quite. I take it that
Michael Andrew is listening. He won't say anything,
and that is to be understood.
|
|
RF
|
I think he's listening.
|
|
ES
|
Yes, I think he's listening. Secretly, you are.
So what is a word in assonance with Michael?
|
|
RF
|
|
|
ES
|
NO, in assonance.
|
|
RF
|
I don't think I know.
|
|
ES
|
It rhymes with sickle. Fickle. Now Chuck
Vinard--
|
|
CV
|
Yes.
|
|
ES
|
Can you sing these two words [ES SINGS]
Fickle Michael. Fickle Michael. Can you sing
them?
|
|
CV
|
Yes, I guess so. Should I?
|
|
ES
|
Yes.
|
|
CV
|
Just like you did?
|
|
ES
|
[SINGS] Fickle Michael.
|
|
CV
|
Okay.
|
|
ES
|
Can you do that? Go ahead.
|
|
CV
|
[SINGS] Fickle Michael.
|
|
ES
|
Ask him if he heard that. He's not very good at
acting as if he didn't hear. He almost reminds me
of the New York Times editors. [LAUGHTER]
They learn that early. Ask him if he's hearing
what's going on.
|
|
CV
|
Michael, are you hearing what's going on?
|
|
MICHAEL ANDREW FREEDMAN
|
Going on.
|
|
ES
|
I think that means yes.
|
|
JF
|
He said "Going on."
|
|
ES
|
[MAF STANDS BESIDE ES] I take it you're
shaking your left foot. [TO MAF WHO STOPS
SHAKING HIS FOOT] No, you were shaking your
left foot. Is that correct, or is that
introspective psychology? [LAUGHTER FROM
COMPANY] Were you shaking your left foot? Mr.
Freedman, was he shaking his left foot?
|
|
RF
|
Yes he was.
|
|
ES
|
Do you think it was rhythmical?
|
|
RF
|
Yes.
|
|
ES
|
Do you think one of the reason was to maintain
his composure? For instance, this is rhythmical.
[ES WAVES HIS ARM SLOWLY]
|
|
MAF
|
Here mommy. [MAF GOES TOWARD HIS
MOTHER]
|
|
RF
|
I think so--
|
|
ES
|
You tell him I'm very hurt because he left me so
soon. I'm very hurt.
|
|
JF
|
Michael, Mr. Siegel is very hurt.
|
|
ES
|
I feel like one of the family almost.
|
|
JF
|
He's very hurt because you left him so soon.
|
|
MAF
|
Here mommy.
|
|
ES
|
Well, all right, I'm very hurt. [MAF GOES TO
ES] You're coming back. I am unlike other
monarchs, I like somebody near me on the throne.
[LAUGHTER FROM COMPANY] Well, Miss Adams,
what is a rhyme for throne, which sometimes is
needless?
|
|
MARILYN ADAMS
|
Alone?
|
|
ES
|
Yes, but there's another one. [MAF STANDS
NEAR ES. TO MAF] Well your hair has been well
taken care of. What's a word that rhymes, which is
sometimes needless?
|
|
MA
|
Stone?
|
|
ES
|
Moan. [TO MAF] Did you hear that? Ask
him if he heard that.
|
|
CF
|
Did you hear that?
|
|
ES
|
[TO CV] Would you imitate a moan?
[TO MAF] Now you don't leave me again,
hear? [ES MOANS. TO CV] Go ahead.
|
|
CV
|
[MOANS]
|
|
ES
|
It's almost like a groan. All right, we're going
to ask some more questions. Mr. Berkman, what is a
rhyme for child that means primitive and
unfettered?
|
|
LARRY BERKMAN
|
Wild.
|
|
ES
|
Wild, that's right. [MAF CLIMBS ON STOOL AND
PLAYS WITH TELEPHONE] Is this boy wild?
|
|
JF
|
Oh yes.
|
|
|
|
|
ES
|
He is?
|
|
JF
|
Yes.
|
|
ES
|
[TO MAF] Are you wild? Are you? Well
that's a sort of semi-wildness. I want to show you
I'm wild. Look.
|
|
MARTHA BAIRD
|
Put the parts of the telephone away.
|
|
ES
|
Now let's have a scene here. Will you take this
person and put him on your lap, to show that older
people can be wild too? [JF TAKES MAF TO HER
LAP. TO MAF] Now cry, we all expect you to cry.
[ES CRIES. LAUGHTER FROM COMPANY.] I want
to get this over to you. This telephone is a very
important phase of Aesthetic Realism business. We
don't let amateurs handle it. You are an amateur,
do you understand? Now do you want to cry? This is
your time.
|
|
MAF
|
No.
|
|
ES
|
Yes. Cry, shall we say, as American children do.
This is your time. Now don't cry later. All right
we'll go on. Next we'll have a little incident
around here. [MAF WHINES] You have very
pretty feet and your shoes are quite white.
[MAF GETS OFF JF'S LAP AND GOES TO TELEPHONE.
ES GROWLS] No. [MAF STANDS PERPLEXED.
LAUGHTER FROM COMPANY] I'm going to ask your
Aunt for comment. Alice Bernstein, the Muses were
how many in number?
|
|
ALICE BERNSTEIN
|
The Muses? I think there were nine.
|
|
ES
|
That's what he wanted to hear; that's why he
came--to see how many Muses there were. How many
are there?
|
|
ALICE B.
|
I think there were nine.
|
|
ES
|
That's right. Does that rhyme with
Bernstein?
|
|
AB
|
Yes.
|
|
ES
|
Isn't that fine?
|
|
AB
|
That's wonderful.
|
|
ES
|
That's fine. The Muses nine rhyme with
Bernstein. Can you say that, Chips Vinai?
|
|
CV
|
Yes.
|
|
ES
|
It's fine that the Muses nine rhyme with
Bernstein. Show off for him, he can't say that. Go
on, say it.
|
|
CV
|
It's fine that the Muses nine rhyme with
Bernstein.
|
|
ES
|
[TO MAF WHO IS ON JF'S LAP] Now see if
you can say it. I bet you can't. If you can say it,
I'll let you look at the telephone. [LAUGHTER
FROM COMPANY] David Bernstein, what are your
impressions so far?
|
|
DAVID BERNSTEIN
|
I've very much excited by this lesson, Mr.
Siegel. It has to do with--
|
|
ES
|
Don't be too excited. It's informative and
Michael Andrew is among friends. It's true that
they can roar at him, but still...
|
|
DB
|
It has to do with knowing a person, Mr. Siegel.
I feel I don't know too much about Michael
Andrew.
|
|
ES
|
You sound a little too sad. That's right, so
find out more.
|
|
DB
|
I'm very much affected by the way he looks
today.
|
|
ES
|
The way he's silent and the way he talks?
|
|
DB
|
Yes, I'm affected by that too.
|
|
ES
|
What is a word that rhymes with affected, which
many people feel? [COMPANY TRIES TO ASSIST]
No, Mr. Bernstein.
|
|
DB
|
Collected?
|
|
ES
|
Collected--no, that's another one. Right now,
that's what he [MAF] wants to feel.
|
|
DB
|
Well I heard Miriam Mondlin say neglected.
|
|
ES
|
Neglected--and there's another one. [COMPANY
SAYS "REJECTED"] Rejected. There are quite a
few words.
|
|
MAF
|
That's mine.
|
|
RF
|
This is yours. Do you want yours?
|
|
MAF
|
|
|
ES
|
I think he's eminently well behaved, everything
considering. I think you could almost say you're a
model child. [LAUGHTER FROM COMPANY]
Slightly withdrawn.
|
|
RF
|
Jean doesn't feel that.
|
|
ES
|
Oh well, mothers don't know their children. Mr.
Bonola, I'm going to ask a question of you. He has
a second name, Andrew. What is a word that shows
man to be kind to each other in two syllables and
rhymes with Andrew? It's almost in assonance.
|
|
MAF
|
That's Mr. Siegel.
|
|
ES
|
The second syllable is the name of a
magazine.
|
|
ALAN B.
|
Andrew--
|
|
ES
|
It's an interesting rhyme and it means--it shows
that people can help each other.
|
|
AB
|
Can help each other.
|
|
ES
|
Yes, and the second syllable is the name of a
magazine.
|
|
AB
|
Rescue.
|
|
ES
|
That's right--rescue. See if he can say
that.
|
|
JF
|
[TO MAF] Can you say "rescue"?
|
|
MAF
|
Rescue.
|
|
ES
|
Rescue. Thank you, you took part. {ES STANDS AND
SHAKES HANDS WITH MAF] You are now, what shall
I say?--participating--what's the word?--you're now
of the moment.
|
|
MAF
|
No more phone. [LAUGHTER FROM
COMPANY]
|
|
ES
|
Mr. Hoyle, there's a word which rhymes with your
name it's what mothers are worried about when their
children wear white--that something will occur
rhyming with your name. It's also the name of the
ground. The Jewish people say we can do it to our
souls.
|
|
MAF
|
|
|
ES
|
As they say in Brooklyn, "He sulrled his soul."
Soil. See if you can say that. Michael Andrew, can
you say soil?
|
|
MAF
|
No.
|
|
ES
|
Good, it's a sort of grudging taking part, but
quite good. Now the next thing is Margot
Carpenter--do you know who Margot Carpenter is?
|
|
RF
|
He does.
|
|
ES
|
Miss Carpenter?
|
|
MC
|
Yes.
|
|
ES
|
Since you've been doing such wonderful work for
Aesthetic Realism, will you stand up--though it's a
hot day--and take the show away from Michael
Andrew? [MC STANDS. APPLAUSE FROM COMPANY. TO
MAF] Did you applaud?
|
|
MAF
|
Applaud.
|
|
ES
|
Why don't you applaud to show that other people
exist besides you?
|
|
MAF
|
Give me--
|
|
ES
|
And not carrying on your own business. So Miss
Carpenter, there's a rhyme meaning very respectful
of something and somewhat afraid, rhyming with
applaud. Can you think of it?
|
|
MC
|
Two syllables?
|
|
ES
|
One syllable.
|
|
MC
|
Laud?
|
|
ES
|
Laud? No, I don't mean that one. When we look at
the stars, what are we? Did you ever look at the
stars?
|
|
COMPANY
|
Awed.
|
|
ES
|
Awed. Very good. Now, I want to introduce
formally, the Secretary of the Society for
Aesthetic Realism, Martha Baird, who will take the
show away as Miss Carpenter did, from Michael
Andrew. {MARTHA BAIRD STANDS, APPLAUS FROM
COMPANY] Grudgingly--
|
|
MARTHA BAIRD
|
He didn't even look at me.
|
|
ES
|
Will you applaud? Will you applaud, or are you
going to be mad?
|
|
MB
|
He didn't even look at me.
|
|
ES
|
Yes he did.
|
|
MB
|
He did? Okay.
|
|
MAF
|
I did! [LAUGTER FROM COMPANY]
|
|
ES
|
Jean, will you ask him if this is doing him any
good?
|
|
JF
|
Michael, is this doing you any good?
|
|
ES
|
Otherwise we're going to change the show.
|
|
JF
|
Is this doing you any good?
|
|
MAF
|
I did it, I did it.
|
|
ES
|
I think he means yes. [COMPANY
AGREES]
|
|
MAF
|
I did it. [MAF APPLAUDS]
|
|
ES
|
Thank you, thank you. Well after all, the
beginnings of things are difficult. I'd like
everybody to take part in this. Barbara D'Amico,
what's a city that rhymes with your name?
|
|
BARBARA D'AMICO
|
With D'Amico?
|
|
ES
|
Sort of--assonance.
|
|
B D'A
|
Toledo?
|
|
ES
|
Toledo--but there's another one, bigger.
|
|
MAF
|
I want water.
|
|
B D'A
|
San Francisco.
|
|
ES
|
But there's another one. There's Toledo, San
Francisco and one more.
|
|
MAF
|
|
|
ES
|
God he's good at acting as if he didn't hear
anything. I'm just telling you--wonderful. Where
did you get it, kid, where did you get it?
|
|
B D'A
|
Chicago.
|
|
ES
|
CHICAGO! Do you hear me? He's really wonderful.
What do you think, Mrs. Kellerman?
|
|
EK
|
I think he is wonderful.
|
|
ES
|
He is excellent.
|
|
MAF
|
I want some water.
|
|
ES
|
Terry D'Afrido, what goes to Staten Island that
rhymes with your name?
|
|
TERRY D'AFRIDO
|
Ferry.
|
|
ES
|
That's right. And has this person been on the
ferry?
|
|
JF
|
Yes.
|
|
ES
|
He has. All right, ask him what he remembers of
it. [ES GIVES MAF THE BALL OF PAPER]
|
|
MAF
|
Mr. Siegel.
|
|
JF
|
What do you remember from being on the ferry,
Michael?
|
|
MAF
|
Give me paper.
|
|
ES
|
What do you remember from being on the
ferry?
|
|
MAF
|
Give me paper. Where's the paper?
|
|
ES
|
Here. [ES GIVES MAF BALL OF PAPER] Now
what do you remember from being on the ferry? All
right, I'm going to have Terry D'Afrido show that
she knows more than Michael Andrew. I'm going to
prove it. Terry D'Afrido, what do you think of the
Staten Island Ferry?
|
|
TD'A
|
I liked it.
|
|
ES
|
Do you remember being on it?
|
|
TD'A
|
Yes.
|
|
ES
|
Are you superior to this person [MAF]
who doesn't remember? Of course you are. Do you
feel superior to this person who doesn't
remember?
|
|
T D'A
|
Yes.
|
|
MAF
|
|
|
ES
|
Are you more expressive on this subject?
|
|
TD'A
|
Yes.
|
|
ES
|
What is the chief thing that you remember?
|
|
TD'A
|
I remember going to the Statue of Liberty.
|
|
ES
|
Is there anything else you remember?
|
|
MAF
|
|
|
TD'A
|
I felt kind of sick.
|
|
ES
|
What else was there? I can make a little poem
out of that: Sky and water and me/With me did not
agree. Is that all right? So how about sky and
water and me just so? [TO MAF] Do you know
what the sky is? MAF LOOKS UP AND POINTS TO
CEILING]
|
|
MAF
|
Sky.
|
|
ES
|
Do you know what the sky is? [MAF STANDS
FACING ES] Do you know what the sky is? When
Terry D'Afrido was on the Staten Island Ferry, she
saw the world as sky and water and a pretty big
ship. Did you?
|
|
TD'A
|
Yes.
|
|
ES
|
Sky and water and me can agree. Will you say
that? Jean, will you say it?
|
|
JF
|
Sky and water and me can agree.
|
|
ES
|
Roger Freedman.
|
|
RF
|
Sky and water and me can agree.
|
|
ES
|
That's right. Alice Bernstein.
|
|
AB
|
Sky and water and me can agree.
|
|
ES
|
Jody Musicant.
|
|
MAF
|
Where's Rachel? Where's Alice?
|
|
ES
|
Look--Jody Musicant is going to say a poem.
|
|
MAF
|
Where's Alice?
|
|
JODY MUSICANT
|
Sky and water and me can agree.
|
|
ES
|
Jack Musicant.
|
|
JACK MUSICANT
|
Sky and water and me can agree.
|
|
ES
|
May Musicant.
|
|
MAY MUSICANT
|
Sky and water and me can agree.
|
|
ES
|
I think the Musicants have been united.
[CHEERS FROM COMPANY. TO MAF] Now, look
dear. You're going to act tough, but I know you're
just a miniature person as yet. You say that: Sky
and water and me can agree. Can you say it? All the
Musicants said it.
|
|
MAF
|
I want some water.
|
|
ES
|
And your mother said it.
|
|
MAF
|
Water.
|
|
VOICE:
|
He said water.
|
|
MAF
|
|
|
ES
|
Did you ever hear of Wordsworth? I take it you
haven't. All right, we got somewhere. Going on.
Miss Dawson--
|
|
MAF
|
|
|
ES
|
What is a great astronomical body that rhymes
with your name?
|
|
BARBARA DAWSON
|
Dawson?
|
|
ES
|
Yes, your name. It hasn't been visited yet and
won't be for a while.
|
|
BD
|
Sun.
|
|
ES
|
That's right. [TO MAF] I don't know how
much you know, but do you know what the sun is?
[MAF WALKS AWAY] I want to tell you
something. Will you listen? I once asked a mother
about her boy and I asked her whether she or the
sun was a better friend to the boy.
|
|
MAF
|
|
|
ES
|
Is your mother or the sun a better friend to
you?
|
|
MAF
|
|
|
ES
|
Ask him.
|
|
JF
|
Am I or the sun a better friend to you,
Michael?
|
|
MAF
|
Sit down. Sit down.
|
|
ES
|
Who?
|
|
JF
|
He said "Sit down." He wants me to sit on the
floor.
|
|
MAF
|
Sit down.
|
|
ES
|
Can you?
|
|
JF
|
Yes.
|
|
ES
|
All right, if you can, do. We'll fight about the
main issues like the telephone, but not the minor
ones. [JF SITS ON FLOOR. MAF CRIES AND
STAMPS] That's so fine. Go ahead, please go on,
please go on. We'll applaud him. [APPLAUSE FROM
COMPANY AS MAF CRIES] Opposites Company, here's
your chance. In quick succession "Cry some
more."
|
|
OPPOSITES COMPANY TOGETHER:
|
Cry some more! [MAF STOPS CRYING]
|
|
ES
|
Good. Heller.
|
|
JAMES HELLER
|
Cry some more!
|
|
REBECCA THOMPSON
|
Cry some more!
|
|
ES
|
Von Griessemer
|
|
TED VON GRIESSEMER
|
Cry some more!
|
|
ES
|
Weiner.
|
|
CHERYL WEINER
|
Cry some more!
|
|
ES
|
Page.
|
|
DAVID PAGE
|
Cry some more!
|
|
ES
|
Dawson.
|
|
BARBARA DAWSON
|
Cry some more!
|
|
ES
|
Fields.
|
|
TIM FIELDS
|
Cry some more!
|
|
ES
|
Carpenter.
|
|
MARGOT CARPENTER
|
Cry some more!
|
|
ES
|
Whom have I--
|
|
KAREN VAN OUTRYVE
|
Van Outryve.
|
|
ES
|
Yes, Van Outryve.
|
|
KVO
|
Cry some more!
|
|
DAVID Newlin
|
Cry some more!
|
|
ES
|
Cry some more!
|
|
RAY HARRISON
|
Cry some more!
|
|
MARILYN ADAMS
|
Cry some more!
|
|
ES
|
Now all in a chorus.
|
|
COMPANY:
|
CRY SOME MORE!
|
|
ES
|
Thanks you. [APPLAUSE AND CHEERS] When
other persons cry around here we don't like it, but
when you cry, we can't have enough of it. Do you
understand, or is that too difficult for you?
|
|
MAF
|
No more phone. [LAUGHTER FROM COMPANY. CRIES
FROM COMPANY OF "NO MORE PHONE."]
|
|
ES
|
Would you like for me to get sarcastic a little?
I hear Miss Wilson has to leave soon. Do you want
to say something to this person?
|
|
MAF
|
|
|
ES
|
This is an eminent member of the New York
theatre, Carrie Wilson. Stand up--[CW STANDS
UP, APPLAUSE FROM COMPANY]
|
|
CARRIE WILSON
|
Michael Andrew, Mr. Siegel is your friend and I
want to make sure that you know that.
|
|
ES
|
All right. Anyway, do you know who Miss Wilson
is?
|
|
MAF
|
I want you [JF] to go up.
|
|
ES
|
I want to say this to you--Miss Wilson is going
to Philadelphia, a city I feel you've never been
at.
|
|
MAF
|
Get up mommy.
|
|
ES
|
Do you think he's listening? Yes he's listening.
He's listening. This is his way of maintaining his
supremacy.
|
|
MAF
|
Get up. Get up mommy.
|
|
ES
|
I want to ask you this: AM I listening to
you?
|
|
MAF
|
Get up mommy.
|
|
ES
|
That's what you said just now "uh oh." It shows
I listen. Now say something and see if I listen. I
bet you can't listen to me. You can't listen to
Miss Wilson. Go ahead, say something. He won't
listen. Go ahead.
|
|
CW
|
Michael Andrew--
|
|
ES
|
How sweet the moon lies on the summer bank. How
is that line in the Merchant of Venice?
|
|
CW
|
The moon lies on a summer bank.
|
|
ES
|
Yes. [TO MAF] Did you listen?
|
|
MB
|
On such a night.
|
|
ES
|
On such a night. Now you say something and Miss
Wilson will listen.
|
|
MAF
|
[PULLING ON JF'S ARM] Get up mommy.
|
|
ES
|
[TO CW] Did you hear that?
|
|
CW
|
I heard it.
|
|
ES
|
That's right, and I heard it too. [TO
MAF] Everybody listens to you.
|
|
MAF
|
Get up mommy.
|
|
ES
|
"uh uh, uh uh" put it down.
|
|
MARTHA BAIRD
|
"uh uh"--I got it. [MB WRITES IT DOWN]
[COMPANY REPEATS MAF'S SOUNDS]
|
|
VOICE
|
He wants Jean to get up.
|
|
ES
|
"Up up"--go ahead, say something and we'll
listen.
|
|
MAF
|
No.
|
|
ES
|
"No"--we all heard you. We even hear you
breathe. Well Miss Wilson, that was very dramatic,
and if Philadelphia calls for you, you go whenever
it is necessary.
|
|
MAF
|
Get up mommy.
|
|
CW
|
Bye-bye, Michael. Bye-bye. Bye.
|
|
MAF
|
Uh--
|
|
ES
|
"Uh" did you hear that?
|
|
MAF
|
Want to go outside.
|
|
|
[Company says ""GOOD-BYE" TO CW WHO
LEAVES] [MAF WATCHES HER LEAVE.]
|
|
ES
|
Robert Solberg is your friend and you have a
difficulty about listening. You want to pretend you
don't listen. So Robert Solberg, will you spell
listen and show up Michael Andrew?
|
|
ROBERT SOLBERG
|
Michael, I am going to spell listen,
l-i-s-t-e-n.
|
|
MAF
|
Get up mommy.
|
|
ES
|
Does he have a business about listening?
|
|
JF
|
Yes he does.
|
|
MAF
|
Get up mommy.
|
|
ES
|
He has to appear as if--
|
|
MAF
|
Get up mommy.
|
|
ES
|
What was the last expression to Robert Solberg
of him.
|
|
ROBERT SOLBERG
|
Go up mommy.
|
|
ES
|
Now Jean is not listening. Say, "I'm not
listening to you." Say it.
|
|
JF
|
[TO MAF] I'm not listening to you.
|
|
ES
|
The way you do with me.
|
|
JF
|
The way you do with me.
|
|
ES
|
Older people cannot listen.
|
|
MAF
|
Go up mommy.
|
|
ES
|
Do you think your mother should listen to you?
I'd tell him to shut up. "I'm not listening to you.
You don't listen to other people and I'm not
listening to you."
|
|
JF
|
Shut up. You don't listen to other people and
I'm not listening to you.
|
|
ES
|
And I want you to cry.
|
|
JF
|
And I want you to cry.
|
|
ES
|
That's right.
|
|
MAF
|
No. [COMPANY MARKS THIS]
|
|
ES
|
What's that?
|
|
VOICE
|
He said no.
|
|
ES
|
Now he's crying. [APPLAUSE FROM
COMPANY]
|
|
MAF
|
Go up mommy.
|
|
ES
|
Now there's another word for listen that rhymes
with park.
|
|
MAF
|
Go up mommy.
|
|
ES
|
[TO JF] You don't listen to him. He has
no right to be listened to, for a while, and then
later maybe that will change. But in the meantime,
Mr. Kimmelman, what is a word rhyming with
park that means listen.
|
|
KEN KIMMELMAN
|
Hark.
|
|
ES
|
That's right.
|
|
MAF
|
|
|
ES
|
Very well answered. And what is a happy bird
that rhymes with park?
|
|
KK
|
Me?
|
|
ES
|
Yes.
|
|
KK
|
Lark.
|
|
ES
|
Right. Miss De Gomar, what is Michael in
Spanish?
|
|
MAF
|
Oh.
|
|
CARMEN DE GOMAR
|
Miguel.
|
|
MAF
|
|
|
ES
|
And Andrew?
|
|
CDG
|
Andres.
|
|
ES
|
[TO MAF] Did you hear that?
|
|
CDG
|
Miguel Andres.
|
|
MAF
|
|
|
ES
|
Would you ask him with your fiercest manner,
Miss de Gomar "Were you listening to me"?
|
|
CDG
|
Were you listening to me?
|
|
MAF
|
No.
|
|
ES
|
That's right. That's a help. Do you want me to
listen to you?
|
|
MAF
|
Roger?
|
|
ES
|
What's that?
|
|
JF
|
He said "Roger."
|
|
ES
|
Roger?
|
|
MAF
|
Roger.
|
|
ES
|
Well this matter of listening is pretty
important. Miss Merle.
|
|
MAF
|
|
|
ES
|
What do boys sometimes have in their hair that
rhymes with your name?
|
|
VANA MERLE
|
Curl.
|
|
ES
|
Curl--that's right.
|
|
MAF
|
|
|
ES
|
Will you ask Michael Andrew if he was listening
to you?
|
|
VM
|
Michael Andrew, were you listening to me? Were
you listening to me?
|
|
MAF
|
Sit down.
|
|
ES
|
What's that?
|
|
RF
|
He said "Sit down."
|
|
VM
|
Well you know I am sitting down.
|
|
ES
|
[TO VM] Somebody will protect you. Will
you stand up, Chuck Vinard, and say raising your
fist, "I'm mad at you, Michael Andrew, because you
didn't listen to my mother."
|
|
CV
|
Yeah! [LAUGHTER FROM COMPANY. ES AND CV
STAND.] I'm mad at you Michael Andrew, because
you didn't listen to my mother! [MAF TALKS TO
JF] You're not listening.
|
|
ES
|
Now Mr. Bonola, will you stand up and say, "I'm
mad at you, Michael Andrew, because you didn't
listen to Vana Merle."
|
|
ALAN B.
|
I'm mad at you, Michael Andrew, because you
didn't listen to Vana Merle.
|
|
ES
|
Miss Thompson, will you stand up and tell
Michael Andrew, "I'm mad at you, Michael Andrew,
because you didn't listen to Vana Merle."
|
|
RT
|
I'm mad at you, Michael Andrew, because you
didn't listen to Vana Merle.
|
|
ES
|
And as far as I know, it could happen to me
too.
|
|
RT
|
And as far as I know, it could happen to me
too.
|
|
ES
|
Mr. Von Griessemer?
|
|
TvG
|
I'm mad at you, Michael Andrew, because you
didn't listen to Vana Merle, and as far as I know,
it could happen to me too.
|
|
ES
|
Mr. Harrison.
|
|
RAY HARRISON
|
I'm mad at you, Michael Andrew, because you
didn't listen to Vana Merle, and as far as I know,
it could happen to me too.
|
|
ES
|
Marilyn Adams.
|
|
MARILYN ADAMS
|
I'm mad at you, Michael Andrew, because you
didn't listen to Vana Merle, and as far as I know,
it could happen to me too.
|
|
ES
|
Good. Now do you get the point? [MAF LOOKS
AT ES] It's a very dramatic moment at this
time. [COMPANY AGREES]
|
|
MAF
|
Take your shoes off. Take your shoes off.
|
|
ES
|
Ask Michael Andrew whether he thinks I'm
mean.
|
|
JF
|
Michael, do you think MR. Siegel is mean?
|
|
MAF
|
Take them off.
|
|
JF
|
He wants me to take my shoe off.
|
|
ES
|
Do you like to give your mother orders?
|
|
MAF
|
Take shoes off.
|
|
VOICE:
|
He does.
|
|
MAF
|
Take your shoes off.
|
|
ES
|
This is the order right now. [TO JF] You
stay as you are and don't listen to what your son
tells you for the next few minutes! He can give you
orders when he gets home! Do you understand?
[TO MAF] Your mother is an independent
being and so are you.
|
|
MAF
|
I want to go in the car. Get up.
|
|
ES
|
That's right. We're trying to put on a show
here.
|
|
MAF
|
Go up, go up.
|
|
ES
|
Roger Freedman, what is your impression now?
|
|
RF
|
I feel this is very good for Michael. I like
what's happening very much.
|
|
ES
|
All right, it's in process, it's in process. Do
you want to be like many other children who want to
run everything they come to? That was the trouble
with Nixon as a child. Do you want to be like
him?
|
|
RF
|
I think he does do that very much. He does have
that running quality.
|
|
MAF
|
I want to go home.
|
|
ES
|
All right, James Heller, will you tell Michael
Andrew "Whether you like it or not, I'm learning a
hell of a lot from you"?
|
|
JAMES HELLER
|
Whether you like it or not, Michael Andrew, I'm
learning a hell of a lot from you.
|
|
ES
|
Just a moment. We want to have the right time
for that. [ES STANDS] Mr. Heller is going
to utter a sentiment. Go ahead.
|
|
JH
|
[STANDS] Whether you like it or not, I'm
learning a hell of a lot from you.
|
|
ES
|
Hurray for Heller! [APPLAUSE AND CHEERS FROM
COMPANY--CHANT OF "WE WANT HELLER, WE WANT HELLER,
WE WANT HELLER"] We're not going to let
children come here and take over the whole show,
and continue with the manners of home.
|
|
COMPANY
|
RIGHT!
|
|
ES
|
Well, we're proceeding. Peter Hampton, what do
you feel like saying?
|
|
PETER HAMPTON
|
Well I'm learning a hell of a lot from Michael
Andrew too.
|
|
ES
|
That's right.
|
|
PH
|
Whether he likes it or not.
|
|
ES
|
Well that is as it should be. [TO RF]
The best thing to do right now is this--could you
take Michael Andrew and go to the end of the room
there, the corner, Mr. Freedman, and hold him a
while. He may yell, but it's worth it. Try to get
through. Try to get through.
|
|
RF
|
Yes sir. [RF PICKS UP MAF]
|
|
ES
|
Try to get through.
|
|
MAF
|
Go outside.
|
|
ES
|
This shows that might is right. [RF TAKES
MAF TO CORNER OF ROOM] If he doesn't cry now,
it's not worth it. [ES WAVES TO MAF] Hello
darling! Hello darling!
|
|
MAF
|
I want to go outside.
|
|
ES
|
Now ask him if he wants to come back.
|
|
RF
|
Do you want to come back?
|
|
MAF
|
Outside.
|
|
KK
|
He wants to go out.
|
|
MAF
|
Where is the lady?
|
|
ES
|
Who do you think won this round?
|
|
EK
|
I think you did.
|
|
ES
|
Does he want to come back?
|
|
RF
|
He said, "Where is the lady"?
|
|
RAY HARRISON
|
Carrie Wilson went out.
|
|
ES
|
He does remember. That's very interesting.
She'll be here again.
|
|
BARBARA DAWSON
|
He watched her when she went out, and kept
looking at the door for a long time.
|
|
ES
|
He would like to have the exit. If somebody else
has it, he doesn't like it. Tell this to Miss
Wilson. All right, proceeding. I think right now
you can come back, and if he can be on your lap,
Mr. Freedman.
|
|
RF
|
Okay. [RF AND MAF RETURN TO SEAT]
|
|
MAF
|
|
|
ES
|
Oh he hasn't cried worth anything yet. [MAF
CRIES. CHEERS OF "HURRAY" AND APPLAUSE. MAF STOPS
CRYING.] Mr. Harrison, do you think you cried
as well when you were a certain age?
|
|
RAY HARRISON
|
Oh I cried better, Mr. Siegel.
|
|
ES
|
That's something. [MAF WHINES AND CRIES]
I think Wendall Keel should say something. Do you
know who Wendall Keel is? The stage is prepared for
Wendall Keel.
|
|
WENDALL KEEL
|
Michael Andrew--
|
|
ES
|
[TO WK] Stand up.
|
|
WK
|
Michael Andrew, whether you like it or not, I'm
learning worlds from you.
|
|
ES
|
Thank you. And what's more, she means it. Faith
Kestenbaum, how is managing your father?
[LAUGHTER] [TO MAF] I want to tell
you something. This is really for Faith Kestenbaum,
but I'll let you in on it, Michael Andrew. Faith
Kestenbaum heard recently--[MAF CRIES AND ES
TALKS LOUDER] Faith Kestenbaum heard recently
that her father was sick, and Faith Kestenbaum
feels that her father should depend on her. So when
he was sick, something in her was stirred and she
could have her father depend on her again. It made
her feel very bad, and she's thinking about that
now. [MAF CRIES] Now will you applaud
Michael Andrew's crying?
|
|
|
[APPLAUSE FROM COMPANY--CHEERS OF
"HURRAY"]
|
|
ES
|
[TO FK] Did you hear what I said?
|
|
FAITH KESTENBAUM
|
Yes, thank you.
|
|
ES
|
And the question is still going on. Ask Michael
Andrew if he would like to run you.
|
|
RF
|
Michael Andrew, would you like to run me.
|
|
MAF
|
No, mommy. [LAUGHTER FROM THE
COMPANY]
|
|
ES
|
You ask him then if he would like to run
you.
|
|
JF
|
Michael Andrew, would you like to run me?
[MAF CRIES]
|
|
MAF
|
Mommy.
|
|
ES
|
Would you?
|
|
JF
|
Would you like to run me?
|
|
MAF
|
Mommy.
|
|
ES
|
That means yes. [COMPANY AGREES] Let's
put this to a vote. All those who feel that Michael
Andrew's crying is sincere, raise their hands.
[NO HANDS RAISED. MAF CRIES] All those who
feel there's something fake about it--[ALL
RAISE HANDS--CHANTS OF "FAKE, FAKE, FAKER..."]
Well Jean, your son is getting all this criticism.
How are you doing?
|
|
JF
|
Very well. [MAF CRIES]
|
|
ES
|
[ES CRIES] I can cry better than you.
[ES CRIES and MAF CRIES-ES CRIES LOUDER.... "I
want mama."] You shouldn't run your mother.
It's bad for the soul. [ES CRIES SWEETLY]
Well, proceeding. James Melton--James Melton is the
father of Joshua. What do you see?
|
|
James Melton
|
Well I feel that this afternoon means a
tremendous amount for me. I feel that I'm also
learning something about James and the
Children, about children wanting to manage. I
feel that--[MAF CRIES LOUD] Michael Andrew,
you're a very fortunate person. [MAF
SCREAMS]
|
|
ES
|
I'm going to show you my power. Roger Freedman,
will you caress your child on the back of his neck
and say, "Nice Michael, nice Michael. I'm all for
you and I think Eli Siegel is mean"? Go ahead, say
it.
|
|
RF
|
[PATTING MAF'S NECK] I'm all for you and
I think Eli Siegel is mean.
|
|
ES
|
That's right. Now Jean, will you say that?
Caress him on the neck and say, "Nice Michael, nice
Michael, Eli Siegel is mean and I'm going to be
good to you."
|
|
JF
|
Nice Michael, nice Michael, Eli Siegel is mean
and I'm going to be good to you.
|
|
ES
|
Now you can take him. Forgive me, Michael,
forgive me, I'll never do it again, I'll never do
it again. I won't take away little boys from their
mothers anymore. Isn't that right? Isn't that
right? Nice Michael, nice Michael [ES GOES UP
TO MAF] Forgive me, forgive me. Nice Michael,
do you forgive me, do you? Do you think he'll
forgive me?
|
|
RF
|
Oh yes. [MAF STOPS CRYING. ES RETURNS TO
SEAT]
|
|
ES
|
Nice. I think the stoppage of the crying is one
of the most wonderful things this year.
|
|
JF
|
Mr. Siegel, I feel he wants this fought in him
very much. I feel he wants the managing fought in
him very much.
|
|
ES
|
Yes. We'll try to understand it more. [MAF
WHIMPERS] What can we do? Yes dear, yes. I
won't be mean to you and I won't let anybody else
be mean to you, and you can run anything you want
including the United States for all I care.
|
|
RF
|
Two things--I was very affected by saying what
you had us say--that's one thing. And also, if
Michael really wanted to get away from you, he's
shown much more energy in trying to get away from
you.
|
|
ES
|
Well, he's so happy now. He has his mama and he
has his principles. You're not that happy, Mr.
Heller.
|
|
JG
|
Not yet.
|
|
ES
|
Not yet. Let's proceed. Joan Melton is a
mother... [MAF GIVES ES BALL OF PAPER]
Thank you, thank you. What a gift, what a gift.
|
|
JOAN MELTON
|
I'm very affected by Michael and you might have
taken his mother away, but you gave him the whole
world. Michael, I want to tell you something. I
managed my mother and the results were not
good.
|
|
ES
|
I think at this time we should go through the
show called Transmission of the Symbol. This symbol
[BALL OF PAPER] I first give to you, Joan
Melton. [ES GIVES PAPER TO JM]
|
|
MAF
|
Give me. [CRIES]
|
|
ES
|
Who's going to get the symbol? See if you can
guess. I know, but nobody else knows. Who's going
to guess? All right, Venetia Willobie is going to
get the symbol. [JM GIVES PAPER TO ES. ES GIVES
PAPER TO VW WHO RETURNS IT TO ES] Mr. Hoyle.
[ES GIVES PAPER TO TOB.] See if you can
guess who gives the symbol to Mr. Hoyle. Can you
give it to him? This is called Transmission of the
Symbol. Can you guess who will be the next one?
None other than Michael Andrew. [TOB GIVES
PAPER TO ES WHO GIVES IT TO MAF. CHEERS AND
APPLAUSE.] This is called mystifying the
unconscious. We have guessing.
|
|
MB
|
I didn't guess it.
|
|
ES
|
He has the symbol.
|
|
RAY H.
|
He's got his mother and the symbol.
|
|
ES
|
Ann K. Newlin.
|
|
DN
|
She's not here, Mr. Siegel.
|
|
ES
|
But you're here, David Newlin. First of all, you
have to have a rhyme. What is a word rhyming with
queen that takes place on the stage?
|
|
DN
|
Scene.
|
|
ES
|
That's right. The sentiment that you want to
utter for Michael Andrew is what?
|
|
DN
|
That I learned a great deal from him today.
|
|
ES
|
You can put it this way--it's sort of a rowdy
rhyme. I'm not your Pop/But I can tell you
"Stop/Doing some things." Can you say that?
|
|
DN
|
Michael Andrew, I'm not your Pop, but I can tell
you "Stop doing some things."
|
|
ES
|
That's pretty rhythmical. All right, we'll go on
now with the symbol. [MAF GIVES ES BALL OF
PAPER] To whom shall I give it now? You tell me
to whom to give it. Get interested in these people
here. They're all learning from you. To whom should
I give it? Do you want me to give it to
anybody?
|
|
MAF
|
Okay.
|
|
ES
|
All right, Miss Baird, will you hold it up as
high as you can like the Statue of Liberty? [MB
HOLDS BALL OF PAPER HIGH] Isn't that
pretty?
|
|
MAF
|
Give me paper.
|
|
ES
|
Can you catch it?
|
|
MAF
|
I catch it.
|
|
ES
|
[ES TOSSES PAPER TO MAF WHO MISSES] I'll
give you another chance. I'll give you another
chance. We're not mean around here. Hold your hand
up this way. [ES TOSSES PAPER AND MAF MISSES.
ES TAKES PAPER] This is a real symbol. This is
what I did once with Rachel Jane. She was very much
affected. Do you know Rachel Jane?
|
|
MAF
|
Rachel Jane is home.
|
|
ES
|
Yes. Do you know Rachel Jane? Yes, she's home. I
took some crumbled paper, see. It was all folded
up--this is crumbled. And then I showed, see, that
you can take the paper, however crumbled, and make
it look flat and neat. [ES TAKES CRUMBLED PAPER
AND SLOWLY OPENS IT OUT] And then I can take an
ironer and make it look flat. See how different it
is? But it's the same paper. That's the opposites.
See? Is it the same paper?
|
|
MAF
|
|
|
ES
|
Is it the same paper? Here--see, the other way I
couldn't toss it. [ES CRUMBLES PAPER AGAIN
Here. [ES OPENS PAPER AGAIN] Is it the same
paper? Mr. Heller, is it the same paper?
|
|
JH
|
It's the same paper all right.
|
|
MAF
|
Give me paper.
|
|
ES
|
[SHAPES PAPER INTO A BALL] I want to
toss this to your mother now, will you let me?
|
|
MAF
|
Give me paper.
|
|
ES
|
[TOSSES PAPER TO JF WHO TOSSES IT BACK]
You can have it now. [ES GIVES PAPER TO
MAF] Now this is a time for a half minute--for
a half minute--
|
|
MAF
|
Opposites. [MAF TEARS A SMALL PIECE OFF
PAPER] Opposites.
|
|
ES
|
Opposites, that's right. Hurray for the
opposites. I'm all for the opposites. For a half
minute now, everybody is going to go in your mind
and try to think how you feel. Is it all right with
you?
|
|
MAF
|
|
|
ES
|
Is it all right with you? We'll try to go in
your mind and ask how you feel.
|
|
MAF
|
Give me paper.
|
|
ES
|
So first, Chuck Vinard, how do you think Michael
Andrew feels now? Say something about how he
feels.
|
|
CV
|
I think he feels mixed up.
|
|
ES
|
Mixed up. Anything else? Do you think he's glad
or sad?
|
|
CV
|
Glad.
|
|
|
[MAF STANDS IN FRONT OF ES AND LOOKS AT
HIM]
|
|
ES
|
Do you think I showed respect for him?
|
|
CV
|
Yes.
|
|
ES
|
Do you think young people want respect shown to
them?
|
|
CV
|
Yes.
|
|
ES
|
Mr. Harrison, will you go into Michael Andrew's
mind and say something?
|
|
MAF
|
Give me paper.
|
|
RH
|
He's a little annoyed, but he feels bewildered
and he likes where he is.
|
|
ES
|
Put it this way: "I, though my name is Ray
Harrison, I am Michael Andrew and I am
annoyed"--make it the first person. [MAF WALKS
AND WHIMPERS. ASKS FOR WATER]
|
|
RH
|
Oh, I see. My name is Ray Harrison. I am Michael
Andrew. I am a little annoyed, a little amazed, at
what's going on. I feel I learned a little bit
about respect today. I'm not too pleased about it.
I'm deciding what I'm going to do now. I can't make
up my mind if I want to be with my mother or I want
to be with somebody else.
|
|
ES
|
That's very good. Miss Adams, talk in the first
person for Michael Andrew.
|
|
MA
|
My name is Marilyn Adams. I am Michael Andrew. I
don't know what to make of all these people
here.
|
|
MAF
|
People.
|
|
ES
|
Marilyn Adams, will you stand up? I'll tell you
a secret. When Michael Andrew was here, he said to
me in my ear--he said "I'm going to listen from now
on." Did you say that or didn't you? Did you say
that to me? Remember when you were here and you
whispered to me "I'm going to listen"? Do you? Did
you say that? [NO REPLY] Well you did say
it. Don't be bashful. All right now, Miss Adams.
Miss Adams is talking. You can keep your word now.
You promised me that you're going to listen.
|
|
MA
|
My name is Marilyn Adams and I'm not Michael
Andrew. I think I don't know what to make of all
these people here, but they seem pretty friendly
and I feel that--
|
|
ES
|
I think your name is still Marilyn Adams.
[LAUGHTER FROM COMPANY] Now Jack Musicant,
will you say "My name is Michael Andrew" and talk
for him for a while. He did promise me he's going
to listen. He forgets soon, but I don't think he
forgot.
|
|
JACK M.
|
My name is Michael Andrew and when I came here I
knew I wasn't such a good listener and I'm finding
a lot of difficulty in listening to people here.
However, I'm beginning to see that through
listening to some things I can feel very good about
it.
|
|
ES
|
Good. Thank you, Mr. Musicant. That was a very
good interpretation of you. May Musicant.
|
|
MAY M.
|
I am May Musicant and my name is Michael
Andrew.
|
|
ES
|
[MAF IS WALKING AROUND AND NOT PAYING
ATTENTION] Did you promise me you were going to
listen? Did you promise me? If you want to take
back your promise, it's all right, but I want you
to remember you promised me. Did you promise me
you're going to listen?
|
|
MAF
|
I go in car.
|
|
MM
|
I heard about this lesson before today and I was
very puzzled about it and I liked the idea very
much because--
|
|
MAF
|
Want to go outside.
|
|
MM
|
Because I want to find out why sometimes I feel
lonely and why sometimes I have to eat all of the
time.
|
|
ES
|
He has to eat all of the time?
|
|
MM
|
Yes, he likes to eat very often. And why
sometimes I'm not close to people in my mind, and I
hope to find out more today, from now on.
|
|
ES
|
There was once an essay written for a child--the
correlation of eating habits and attention; it
wasn't exactly listening, but that children who
don't want to give attention, want to use their
energy in eating. I think that paper--it appeared
in the psychological journal, educational
psychological journal years ago. So do you want to
eat this paper? Here, it's very good. [ES GIVES
PAPER OT MAF] Do you want to eat it?
|
|
MAF
|
Garbage.
|
|
ES
|
No, it isn't garbage. It's a symbol. Do you want
to eat it? Well, anyway, that was an interesting
fact. So do you eat too much? Mr. Freedman, do you
eat too much? Do you remember when you whispered to
me? Do you remember that? Did you say that or
didn't you say that? He won't tell you he said it.
He did say it.
|
|
JF
|
Related to this, Michael, every once in a while
when he's in a room--like once he was in a room by
himself and he started crying. I asked him what was
the matter and he said "The man was screaming."
|
|
ES
|
Michael Andrew has part of the malady of the
Age; Mr. Stern had it. Mr. Stern, do you think this
is part of the malady of the Age?
|
|
JOHN STERN
|
Malady of the age?
|
|
ES
|
A certain painful separation.
|
|
JS
|
Yes.
|
|
ES
|
He has it a little bit. Do you think you have
it?
|
|
JS
|
Definitely.
|
|
ES
|
That's why this thing came about with the man
screaming, because there is a tendency and the not
listening is the most salient way of its being
shown. Eating also is a way of having the world to
yourself. [TO MAF] Yes dear, I'm talking
about you.
|
|
MAF
|
Jack. Jack.
|
|
ES
|
Yes. And then these half syllables, where he
consents to something and doesn't consent.
|
|
JF
|
He's saying "Jack."
|
|
RF
|
He said "Jack."
|
|
ES
|
It's still a compromise, you know. He's going to
welcome people, but welcome people in terms of whom
he knows. Yes, Mr. Harrison?
|
|
RH
|
One of the things I noticed about Michael Andrew
when I was there one night--he didn't take to me
very much because I was critical of him and he
didn't like it. But we were having supper there, a
whole group of people, and Michael Andrew seemed to
like to have a lot of food.
|
|
MAF
|
|
|
ES
|
Do you want to hear Harrison.
|
|
RG
|
Yeah, would you listen?
|
|
ES
|
We want to hear Harrison! Go ahead.
|
|
RH
|
He seemed to like to have a lot of food on his
plate, which he didn't eat much of but played
around in it and mixed it, you know.
|
|
ES
|
Yes. That's one of the forms of management of
the environment.
|
|
RS
|
Yes, that's what I thought.
|
|
ES
|
Miss Carpenter?
|
|
MS
|
Yes, I have a couple of questions.
|
|
ES
|
First of all, we have to get the proper
attention of Michael Andrew Freedman. Mr. Freedman,
Miss Carpenter would like for you to give her your
attention. Is it possible?
|
|
MAF
|
I want some water. I want some water.
|
|
ES
|
All right, if you get water will you give
attention? We'll bribe you. Will you promise to
give attention if you get water?
|
|
MAF
|
|
|
ES
|
All right, we'll use bribing. We'll use any
means whatsoever if it's a good purpose. [MAF
IS GIVEN WATER] Let's see if he keeps his word.
He sure drinks pretty but not much. May Miss
Carpenter start talking? Is it all right? Do you
give her permission, Mr. Andrew, Mr. Freedman? Is
it all right [NO REPLY] Ask if it's all
right for Miss Carpenter to talk.
|
|
JF
|
Is it all right for Miss Carpenter to talk
now?
|
|
ES
|
Would your Royal Highness--
|
|
JF
|
He said it's all right.
|
|
ES
|
It's all right, okay.
|
|
MC
|
I was with Michael Andrew Freedman this week one
evening for about four hours. A couple of things
puzzled me. One was, he won't say the word--he
didn't say the word "yes" once. He would say "okay"
or he'd repeat what you'd said, but he wouldn't say
the word "yes." The other thing is that he likes to
climb very high on all kinds of things and he knows
he's not supposed to, but he likes to do it anyway,
and you have to catch him. The other thing is that
he likes to say "sit down" a lot. I've noticed that
a great deal. He would say to me, "Do this and sit
down." I was wondering what--I know it has to do
with managing, but what particularly--
|
|
ES
|
We can all dramatize these things. We are now
going to go through a little tableau, a one act
play or sketch called "The True Meaning of Yes." Do
birds sing, Miss Singleton?
|
|
BARBARA SINGLETON
|
Yes.
|
|
ES
|
That's right. Mr. Von Griessemer, has your
acting taken on more meaning and subtlety?
|
|
TVG
|
Yes.
|
|
ES
|
Mr. Hoyle--[TO MAF WHO IS CHATTERING]
Watch this, watch Y-E-S be said, y-e-s, yes! Now
Mr. Hoyle, are you somewhat happier?
|
|
TERRY HOYLE
|
Yes.
|
|
ES
|
All right, what was that last word, Michael
Andrew? Yes! Miss Carpenter's information was very
valuable. It was a certain incipient negativism,
but we'll try to dramatize it, in a good way. Miss
Weiner, do you feel more related to the world.
|
|
CHERYL WEINER
|
Yes.
|
|
MAF
|
|
|
ES
|
There are some persons who haven't talked yet.
Roger Freedman, are you finding out things about
your son?
|
|
RF
|
Yes I am.
|
|
ES
|
Yes, only yes! [MAF WHINES] Yes! We're
dramatizing that word. Miss Van Outryve, do you
feel lighter in spirit?
|
|
KVO
|
Yes.
|
|
ES
|
Did you hear that word? Mr. Kimmelman, do you
feel you're less of a conspirator?
|
|
KK
|
Yes.
|
|
ES
|
Mr. Heller, have you found out something about
persons younger than you?
|
|
JH
|
Yes.
|
|
ES
|
Miss Baird, do you believe that being Secretary
of the Society for Aesthetic Realism is an
important function?
|
|
MB
|
Yes.
|
|
ES
|
Jean Freedman, do you believe that dance is
related to the other arts?
|
|
JF
|
Yes.
|
|
ES
|
Mr. Freedman, do you believe that there's a
relation between the light that you give and the
light of the sun?
|
|
RF
|
Yes.
|
|
ES
|
All right. Mr. Musicant, do you believe that
Michael Andrew, good or bad, can teach you
something?
|
|
JM
|
Yes.
|
|
ES
|
MRS. Musicant--
|
|
MAF
|
[WHINES] Give me...
|
|
ES
|
Mrs. Musicant--is Michael Andrew now
moaning?
|
|
MM
|
Yes.
|
|
MAF
|
No.
|
|
ES
|
Jody Musicant, do you believe that Michael
Andrew knows what's afoot?
|
|
JODY M.
|
Yes.
|
|
ES
|
Now will you spell yes for the dear
boy?
|
|
JODY M.
|
Y-e-s.
|
|
ES
|
And what does Michael Andrew have now that
rhymes with yes?
|
|
JFM
|
Regret.
|
|
ES
|
Distress, that's right. Now our first play,
called the Yes Play, like the Japanese Noh
Play--[LAUGHTER]
|
|
RAY H.
|
Yes Drama.
|
|
ES
|
Now the next point is the climbing high. Miss
Carpenter, will you hold your hands up and say,
"Nobody can reach me now"?
|
|
MC
|
May I stand up?
|
|
ES
|
Yes.
|
|
MC
|
[STANDING WITH HAND HIGH] Nobody can
reach me now.
|
|
ES
|
No one can get at me now.
|
|
MC
|
No one can get at me now.
|
|
ES
|
And Mr. Harrison? Will you raise your hand and
say "I am inaccessible"?
|
|
RH
|
[STANDING WITH HAND HIGH] I am
inaccessible.
|
|
ES
|
Mr. Von Griessemer--
|
|
TvG
|
Yes, I'd love to.
|
|
ES
|
Will you raise your hand and say "I am
supreme"?
|
|
TvG
|
[STANDING WITH RAISED HAND] I am
supreme.
|
|
ES
|
Jean Freedman, would you raise your hand as high
as you can and say "I am unsurpassed"?
|
|
JF
|
[STANDING WITH HAND RAISED HIGH] I am
unsurpassed.
|
|
ES
|
There she is, up on high.
|
|
MAF
|
Go up mommy.
|
|
ES
|
There she is, up on high and there I am up on
high.
|
|
JF
|
There I am, up on high.
|
|
ES
|
What do you think of that? What was that third
point? We'll have a play about that.
|
|
MC
|
The third one was that he liked to tell everyone
to sit down. [MAF WHINES]
|
|
ES
|
Mr. Von Griessemer, even though Miss Thompson is
sitting down, will you tell her to sit down?
|
|
TvG
|
[TO RT] Sit down! [LAUGHTER FROM
COMPANY]
|
|
ES
|
Miss Dawson, will you tell Mr. Fields to sit
down?
|
|
BD
|
[TO TF] Sit down!
|
|
ES
|
Mr. Solberg, will you tell Mr. Berkman to sit
down? Mr. Berkman you'd better rise first. [LB
RISES]
|
|
RBT. SOLBERG
|
Mr. Berkman, sit down. [LB SITS
DOWN]
|
|
ES
|
Do you like the drama, Michael Andrew? Now, Miss
Kestenbaum. Mr. Stern, will you rise? [JS
RISES] Miss Kestenbaum, you give the order to
sit down.
|
|
FK
|
Sit down! [JS SITS DOWN. LAUGHTER FROM
COMPANY]
|
|
ES
|
Miss de Gomar--Miss Singleton will you stand up?
[BS STANDS]
|
|
CDG
|
Sit down, please. [BS SITS DOWN. COMPANY
LAUGHS.]
|
|
ES
|
Considering that we didn't have any rehearsal, I
think that was a pretty good show. Don't you think
so. Ask him if it was a good show.
|
|
JF
|
Was that a good show [NO REPLY]
|
|
ES
|
All right, it was a good show. Mr. Sebring--
|
|
WILLIAM E. SEBRING
|
Yes.
|
|
ES
|
What is a rhyme for your name which bells do on
Christmas?
|
|
WES
|
Ring.
|
|
ES
|
Ring, but in three syllables. [NO ONE KNOWS.
THE MASTER HAS STUMPED THE DISCIPLES YET AGAIN]
Caroling. Do you know how to sing, "Come All Ye
Faithful"?
|
|
WES
|
I really don't sing, but I'll try.
[SINGS] Oh come all ye faithful, joyful and
triumphant.
|
|
ES
|
Let's join in this. This is the only time that
"Come All Ye Faithful" is sung in August. Michael
Andrew, don't you want to join this? This is a time
when all religions get together, you know. Mr.
Sebring would like your cooperation in "Come All Ye
Faithful." Mr. Sebring, we'll try to join you.
|
|
JF
|
Do you want to sing a song?
|
|
MAF
|
[CRIES] No.
|
|
ES
|
[TO WES] Go ahead.
|
|
|
[WES SINGS AND COMPANY JOINS IN: OH COME ALL
YE FAITHFUL, JOYFUL AND TRIUMPHANT OH COME YE, OH
COME YE, TO BETHLEHEM. COME AND BEHOND HIM, BORN
THE KIND OF ANGELS, OH COME LET US ADORE HIM, O
COME LET US ADORE HIM OH COME LET US ADORE HIM,
CHRIST THE LORD
|
|
|
CHEERS OF "HURRAY" AND APPLAUSE]
|
|
ES
|
I think that was quite lovely. [COMPANY
AGREES]
|
|
BARBARA DAWSON
|
I was just saying, the look that was on Michael
Andrew's face as we were singing was something
worth a lifetime to see.
|
|
MAF
|
I want water.
|
|
ES
|
The answer now is, when Aesthetic Realism is
called a cult, you say "You're wrong. It brings
cults together." [LAUGHTER FROM COMPANY]
Who can sing, "Little Town of Bethlehem" by
himself? I don't guess we can manage that. Can you
sing that? [MAF CRIES]
|
|
PETER HAMPTON
|
I think I can.
|
|
COMPANY:
|
Peter Hampton.
|
|
PH
|
I can sing it and so can Mr. Von Griessemer. Can
we do a duet?
|
|
ES
|
Yes. [LAUGHTER FROM COMPANY] Who is
going to sing it?
|
|
PH
|
Mr. Von Griessemer and me.
|
|
ES
|
I want to do this properly.
|
|
MB
|
I can't wait.
|
|
ES
|
[STANDS] At this unusual time in
cultural history, stage history and religious
history, Peter Hampton of The Opposites Company and
Ted von Griessemer, Director of the Opposites
Company, have kindly consented so that Michael
Andrew Freedman have a good life, and be encouraged
in having a good life as early as possible, to sing
that lovely lyric which goes beyond any cult
whatsoever, any sect whatsoever, written by Philip
Brook, called "Little Town of Bethlehem." Everyone
it is expected, will be listening.
|
|
|
[PETER HAMPTON AND TED VON GRIESSEMER SING
"LITTLE TOWN OF BETHELEHEM":
|
|
|
OH LITTLE TOWN OF BETHLEHEM, HOW STILL WE SEE
THE LIE ABOVE THEY DEEP AND DREAMLESS SLEEP THE
SILENT STARS GO BY. AND IN THAT DARK AND DREAMLESS
NIGHT THE EVERLASTING LIGHT THE HOPES AND FEARS OF
ALL THE YEARS ARE MET IN THEE TONIGHT.
|
|
|
APPLAUSE FROM COMPANY. MAF WHINES]
|
|
MC
|
One of Michael Andrew's favorite songs is
"Chim-Chiminey."
|
|
ES
|
Which?
|
|
MC
|
"Chim-Chimney" from Mary Poppins.
|
|
ES
|
All right, does he sing that?
|
|
MC
|
Yes.
|
|
ES
|
If Michael Andrew will consent to sing his
favorite song under the proper auspices, under the
proper introduction, we sure would be glad to have
him. But I have a notion that Mr. Michael Andrew
would like to be unfettered and kind of superior.
[COMPANY AGREES. TO MAF] Would you care to
sing this Mary Poppins song formally?
|
|
JF
|
Do you want to sing "Chim-Chiminey"? Go ahead.
Do you want to sing it?
|
|
MAF
|
No.
|
|
JF
|
He's a little better at singing "Happy
Birthday." Do you want to sing "Happy
Birthday?"
|
|
MAF
|
|
|
ES
|
He should sing something. After all, the
proceedings are slowed up at the moment.
|
|
RAY H.
|
He's being unfettered.
|
|
JF
|
Sometimes he'll sing if somebody starts.
|
|
ES
|
Can you start him off?
|
|
MC
|
Yes.
|
|
ES
|
Start it off.
|
|
MC
|
[SINGS: CHIM, CHIMINY, CHIM CHIMINY CHIM,
CHIM CHAROO I DOES WHAT I LIKES AND I LIKES WHAT I
DO. CHIM, CHIMINY, CHIM CHIMINY CHIM, CHIM CHEREE,
GOOD LUCK WILL RUB OFF WHEN YOU SHAKE HANDS WITH
ME.]
|
|
ES
|
Very beautiful, piquant and beautiful. [TO
MAF] Now can you sing that? [NO REPLY. ES
STARTS] Do you [MAF] want to sing
it?
|
|
JF
|
He said, "I'll sing it."
|
|
ES
|
All right, Miss Carpenter, you sing it again and
maybe we'll get the desire.
|
|
MC
|
Will you join me, Michael Andrew?
|
|
MC
|
[SINGS]
CHIM, CHIMINY, CHIM CHIMINY CHIM, CHIM CHAROO I
DOES WHAT I LIKES AND I LIKES WHAT I DO. CHIM,
CHIMINY, CHIM CHIMINY CHIM, CHIM CHEREE, GOOD LUCK
WILL RUB OFF WHEN YOU SHAKE HANDS WITH ME.
|
|
|
[NO RESPONSE FROM MAF.]
|
|
ES
|
Give him a chance...
|
|
MAF
|
Give me a soda. [WHINES]
|
|
ES
|
I'm going to make up a song for Michael Andrew.
I don't know what the tune will be and I don't know
how I'll sing it. Do you want to hear an improvised
song about you?
|
|
MAF
|
[CRIES] My shoes.
|
|
ES
|
[SINGS] Once there came to this very
room A little boy called Michael Andrew. What could
I do? His life was unformed, He was cold and was
warm, Somewhat misinformed, But Michael Andrew had
a soul, And it was for me to encourage it to be
whole. He tried to interrupt me and tried to show
That he was in control, But Michael Andrew has a
soul., And what could I do, but to make it whole As
well as I could. When a little boy is here I don't
know what I should do, Because on the one hand
There is something to understand; And on the other,
there must be authority. And sometimes I don't
agree with what I do, But this I know, That Michael
Andrew has a soul that is new And I must do all I
can do To have it always new And always a soul that
is a whole soul Not just a fraction Making for an
action And sorrow. I'll borrow His mother and his
father In order to encourage Michael Andrew and his
soul To be in control of the lesser soul And show
that Michael Andrew has a soul That is a whole
soul.
|
|
ES
|
That's the song. [APPLAUSE FROM COMPANY]
Did you understand that?
|
|
TvG
|
Everybody thinks that's a song for him.
|
|
BARBARA D'AMICO
|
I want to thank you for that song for Michael
Andrew.
|
|
MAF
|
[WHINES] A drink of soda.
|
|
ES
|
Does anyone else want to sing a song?
|
|
ALAN BONOLA
|
I'd be happy to sing something for Michael
Andrew.
|
|
ES
|
All right.
|
|
AB
|
It's a song in Latin, written by Ignatius
Loyola.
|
|
ES
|
All right, the more the better. This is the time
for Ignatius Loyola. [LAUGHTER FROM
COMPANY]
|
|
AB
|
Then there's another one in Italian.
|
|
ES
|
First sing that, then you'll sing the other
one.
|
|
CV
|
Just don't sing "The Rose of San Antone"
|
|
AB
|
I won't. [LAUGHTER FROM COMPANY] This is
by Ignatius Loyola. [SINGS]
|
|
|
SUSCIPE, DOMINE SUSCIPE, DOMINE UNIVERSAM
LIBERTATEM MEAM UNIVERSAM LIBERTATEM MEAM. ACCIPE
MEMORIAM, INTELLECTUM ET VOLUNTATEM OMNEM. QUIDQUID
HABEO VEL POSSIDEO, MIHI LARGITUS EST
|
|
ES
|
How many boys below six have Latin songs sung to
them?--of Meam libertatem. So what's the other
song?
|
|
AB
|
It's one of the popular ones of some time ago. I
think it's a very effective poem and it's in the
same field. [SINGS] PENSO CHE UN SOGNO COSI
NON RITORNI MAI PIU MI DIPINGERO LE MANI E LA
FACCIA DI BLU POI DIMPROVISO VENIVO DAL VENTO
RAPITO E INCOMIN CIAVO A VOLARI NEL CIELO
INFINITO
|
|
|
VOLARE, O O, CONTRARE, O O O O NEL BLU, DIPINTO
DI BLU FELICE DI STARE LA SU E VOLAVO FELICE PIU IN
ALTO DEL SOLE ED ANCORA PIU SU MENTR'L MONDO PIAN
PIANO SPARIVA LONTANO LA QUI UNA MUSICA DOLCE
SUOAVA SOLTANTO PER ME
|
|
|
VOLARE, O O, CONTRARE, O O O O NEL BLU, DIPINTO
DI BLU FELICE DI STARE LA SU--CON TE
|
|
|
[AS AB SINGS HE WAVES HIS HANDS AND MAF
FOLLOWS HIS HANDS AND SHAKES HIS HEAD TO THE
RHYTHM. APPLAUSE FROM COMPANY]
|
|
ES
|
If I could, I would sing the Irish song, "Oh
Paddy dear, did you hear the news that's going
around?"
|
|
|
[END OF SIDE I OF TAPE. SIDE 2
CONTINUES]
|
|
|
ARNOLD PEREY SINGS A SONG FROM NEW GUINEA:
|
|
|
URENGENGE, KURENGENGE URENGENGE, KURENGENGE
KURENGENGE MURURONO KUSI XANSI MURURONO
|
|
ES
|
Very good. I'm going to ask you some questions
in behalf of Michael Andrew. Michael Andrew
Freedman, I'm going to ask Mr. Perey some questions
on your behalf. Mr. Perey, since you've had many
more lessons than I have--at least have been where
lessons are, how do you think I should feel this
evening?
|
|
AP
|
Well Michael Andrew, I think you should be very
very pleased that you had a chance to listen--
|
|
MAF
|
I'm fine.
|
|
JF
|
He said, "I'm fine."
|
|
ES
|
All right, I'm glad to hear that, Arnold Perey.
I hear sometimes that you have some difficulty at
lessons. Is that correct?
|
|
AP
|
Yes, that's true. I have gotten sad and angry
during the lessons because I thought that Mr.
Siegel wasn't being friendly. But when I thought
about it and asked people about it, they showed me
how much I learned from him.
|
|
ES
|
Very good. Now what do they mean by all this
listening? Why do they have to come together and
say "Listen," and have all this stage stuff? What's
all that for?
|
|
AP
|
Well if I can judge from the way I (blank) and
not listen, I always wanted to feel that I was
right all the time, even when I was wrong. I
wouldn't listen and I would keep doing wrong
things. And I think I learn more--I think that the
more I learn when I listen, the better I can be
right for myself.
|
|
ES
|
Yes, but they tell me that if I don't listen I
show I'm better than everybody else, just because I
don't listen. What do you see in that? I think
that's something for a boy to hear who's trying to
be happy. What do you think of that?
|
|
AP
|
I think they're mistaken.
|
|
COMPANY:
|
You do?
|
|
ES
|
What do they tell that to me for? It seems to me
in a free country a person has a right to listen or
not listen. You know most of the things that people
say at whatever age are not worth listening to.
What do they tell me all this for? You've got to
show you're free in some way. Why does Mr. Bonola
sing "mean libertatem"? [LAUGHTER FROM
COMPANY] Can you answer that?
|
|
AP
|
It's a hard question.
|
|
ES
|
Could it be, Arnold Perey, maybe you have some
of the difficulties I have?
|
|
AP
|
I do.
|
|
ES
|
You do, huh? Maybe I shouldn't ask these
questions. [LAUGHTER FROM COMPANY] Is that
right?
|
|
AP
|
I think I can tell you some answers that you'd
like to know. I don't know all of them.
|
|
ES
|
I'm going to say this--I'm talking for Michael
Andrew: I wish that you have luck about all of your
questions, just like I should have. And if you
promise to listen better, I'll promise to listen
better. Is it a deal?
|
|
AP
|
It's a deal.
|
|
ES
|
All right, I'm going to ask some more questions.
What is the mistake that you think I made with my
mother?
|
|
AP
|
I think the mistake you make with your mother is
to tell her to do things too much instead of
listening to what other people can tell you that
you would like to know.
|
|
ES
|
That's so, but one of the things I've heard is
that I know when my mother feels bad, which means
she's usually not feeling very strong, and also
when my father feels bad and not very strong, that
I know how to take advantage of it and I do. Do you
think you did that?
|
|
AP
|
Oh I certainly did.
|
|
ES
|
And do you think that's smart?
|
|
AP
|
No, I found out later that it didn't pay because
I tried to do it with everybody and they didn't
like it.
|
|
ES
|
Do you think that a boy should hope that is
mother and father are strong?
|
|
AP
|
Oh yes.
|
|
ES
|
All right. I'll ask Michael Andrew's mother to
ask him whether he wants her to be strong.
|
|
JF
|
Michael, do you want me to be strong?
|
|
MAF
|
No.
|
|
ES
|
[TO RF] Would you ask it. [TO
MAF] Yeah, we know what's going on. Will you
ask him? Ask him: Do you want me to be strong?
|
|
RF
|
Michael, do you want me to be strong? [MAF'S
WORDS INDISTINCT]
|
|
ES
|
Well that means yes. Does anyone feel they
didn't participate sufficiently? If everyone has
participated, we can close this variegated, ethical
lesson.
|
APPLAUSE.
