Melanie Zimmer– Puppeteer

Melanie Zimmer has worked as a storyteller for fourteen years and also performs puppetry as Dancing Bear Puppet Theater. She has worked across the country, performing in a variety of venues, live and for television audiences. She has performed with marionettes, rod puppets, hand puppets and shadow puppets and is the current president of PGUNY, the Puppetry Guild of Upstate New York, a local arm of the Puppeteers of America. As a storyteller, she has performed live and on television, performed symphony narration and spoken at the Massachusetts Institute of Technology for the League for the Advancement of New England Storytelling.

Melanie Zimmer has created puppets using a variety of techniques including carved wood, jigged wood, polymer clay, sheet foam, fabric, and paper mache. She also is an experienced mask maker and has created masks using a variety of media.

What made you want to become a storyteller?

When I was young, I was quite shy and embarrassed to speak in public so when I was in college at the University of Texas in Austin, I decided to overcome that, I would practice public speaking. I joined Toastmasters, a public speaking organization, and that did help me. Years later, I heard a group of storytellers perform and I thought that storytelling was an even better medium of expression because there was so much more that could be done with that using gesture, facial expression and character voices. I joined a storytelling guild in Clinton, NY called The Pearl in the Egg. The group was named after a medieval storyteller. Little is known of her other than the name she called herself, but the group was very helpful. I was able to listen to other, more advanced storytellers and to tell stories myself. In the guild, you could bring a completed work to present, or a fragment that you were working on. After you told, you could ask the group to critique you. Much of the advice was very useful and helped me develop as a storyteller. The other advantage the guild offered was that it would find you work. There were a certain amount of work that came into the guild, and it was distributed among the storytellers who wanted jobs. Being in front of an audience of strangers was essential to developing my skill as a storyteller. Sometimes I would go to the Salt City Storytellers in Syracuse, NY. The group was so-named because salt used to be mined in the Syracuse area. That group was quite different from the Pearl in the Egg. Salt City did not offer you jobs or critique you, but they did have open mic once a month where you could perform or listen to other tellers. They also, at that time offered inexpensive workshops on issues of importance to storytellers. Salty Sam (William Lape) gave a workshop on telling for radio. Another woman gave a fabulous talk on types of fairies and so on.  The Pearl in the Egg also offered workshops, but only occasionally. Their workshops were not given by members, but by well-known storytellers who were hired for the day and so I was exposed to the wisdom of a number of great tellers through that. As I became a better storyteller, and bolder, I took on more work. During this time I was still working full time elsewhere. Eventually, I decided to begin working on puppet theater as well with a partner. We were called A Room in the Woods since my last name – “Zimmer” means “room” in German. Julie’s last name “Waldas” meant “Woods.” We also performed masked interactive Greek theater. Though the partnership did not last, I remained both a storyteller and a puppeteer forming Dancing Bear Puppet Theater after my partner left.

Was the journey difficult? 

Iam not sure if the journey was difficult or not. Perhaps it was and is both. I was helped by many kind people and great advisors. I was helped by my reading and research, and I was helped to start economically in a strange way. When I decided to become a full time performer, I had been an independent contractor selling non-fiction books to libraries (public and school libraries) across New York and Vermont. When I began selling books from my supplier, they promised I would always be paid when the order was sent in. However, within months, they changed their plan and paid only when the libraries paid them which was sometimes a year after the order was taken depending on their budget cycle. That left me with a horrible financial gap in the beginning, but later when I decided to start the puppet theater, it enabled me to stop selling books to build the theater, and still have an income from sales made six month to a year earlier.

One of the biggest obstacles I have is time. As a performer, I have to generate my own publicity, book my own shows, build the shows in the case of the puppet theater, load, unload, drive to the destination which may be very far away even in a different state, and perform. Sometimes it is hard to do it all. If I get busy performing, sometimes the other areas are ignored and then later I will see less work because of it. It is a bit like doing two or three jobs.

The other major obstacle has been my voice. Because I do extreme character voices, often by the end of a telling session or after several consecutive sessions, I would become hoarse. I worked very hard to overcome this studying with a speech pathologist, an expert on the Alexander Technique, and taking a college course on speaking voice. This situation has improved tremendously. It is very dangerous to abuse your voice and if you have vocal discomfort, you should seek training so that you do not permanently damage your voice. After all, a storyteller without a voice isn’t much of a storyteller.

What were some of your favorite stories growing up? 

Quite honestly, I have no recollection of anyone reading folk tales or anything else to me when I was young. I must have heard them somewhere because I knew the common fairy tales, Mother Goose rhymes and the like, but I don’t recall hearing or reading them. My first memory of reading is lying in bed between the age of five and six reading a pictorial dictionary. Strangely, I still do read dictionaries sometimes. Words and language have always interested me. It doesn’t surprise me that no one would read to me before bed. As a small child, I had horrible vivid nightmares such as being eaten by a lion, and other grotesque dreams. My father had been the same as a boy. He shared a room with his brother, and once awoke in the middle of the night convinced they were trapped in the hold of a ship. It was so real to him, he was actually able to convince his brother of this, and the two of them knocked a hole in the bedroom wall trying to escape. By the time I was in second or third grade my nightmares had ceased, or at least I did not remember them any more. I do remember seeing a monster when I was maybe between eight or ten, though. I had gone to bed and was just laying there in the dark. The bedroom door was open and the light from the hall illuminated the doorway.  I looked over, and there was a short creature standing there with its hand on the door knob. It didn’t stand much taller than the door knob, and it had a long tail. It stood upright, but instead of flesh, its body seemed composed of flashing, moving energy like it was made of electricity or some such thing. The movement was in jagged fashion, almost the way lightning moves and was bluish in color. I was horrified and just stared at it for the longest time and it watched me, still standing in the doorway. Finally, I was so scared, I ducked my head under the covers and curled up tight. I stayed like that for some time. When I dared look again, the creature was gone. I never saw it again. I never told my parents. Years later, though, when I was an adult, my mother confided in me that she had often seen strange creatures around her bedroom and bathroom at the house when we were living there. At least I wasn’t the only one seeing things.

I do remember in Junior High School when I would stay with my grandmother she would read to me after lunch from library books. In High School and Junior high I liked to read mysteries, science fiction and biographies. I do know my grandmother was a storyteller when she was young. She would tell the neighborhood children ghost stories, and scare them half to death, but she never told me any. My grandfather on my father’s side was an amateur historian specializing in Maine local history and the American Civil War. He would make up the most ridiculous things to tell us girls. I think storytelling was present in members of our family even though I might not remember having been read to or reading stories when I was young.

 Is there a difference between writing a story and telling a story?

I think there is absolutely a difference between telling a story and writing a story. Perhaps the most important thing I do in learning a story to tell is to not write it, or if I do, to write it after I have completed creating it. I have found that if you simply memorize writing on a page, two things happen. First, if you forget one little thing, you are suddenly lost, struggling for the next word or line. Secondly, if you are thinking about words on the page, you are not as likely or able to interact with the audience, such as have good eye contact with them, etc. For that reason,  I recommend if you are creating a story to be read, write it. Then the words are all important. However, if you are creating a story to be told, tell it, then write it afterward or record it electronically as you tell it if you think you will forget it and need to refresh yourself later. Storytelling involves words, but also the face, the eyes, the voice, the body. None of that can be written easily on the page. Also, there are big difference in the way things will be said. If you have a written story, you will likely see things like “Sally said…” “He said…” In telling a story, you probably would not say that. You can tell by your body and voice who is speaking. To say “he said” or “she said” would just be boring.

Traditionally there was a world of difference between on oral story and a written one. Societies that had no written language or societies in which few people wrote, told stories in a completely different way. Things were repeated again and again with small variations throughout the story in ways which would lose an audience’s interest today. The whole structure was different. I think telling a good story today is a compromise between the old way and the written way.

What is the difference between a fable, a parable, and a fairy tale?

I think I would like to expand this question to include also, folk lore and folk tale because it can be confusing. First, let’s look at the words “folk lore.” “Folk” means people, and “lore” is any kind of wisdom or knowledge. Folklore, then can be any kind of wisdom of knowledge that was or is passed down among the people it can be stories, it could be some sort of craft or medicinal knowledge. “Folk tales” are specifically tales or stories that were told by the people. This is different from a modern story. Each piece of modern literature is written by a person or perhaps a couple people, in some cases. Folk tales are not. They were passed down orally – mouth to mouth. No one person invented a folk tale. Sometimes you will see books containing a folk tale and it will say “ by” and then an author’s name, but this is, in fact, inaccurate. In actuality, it should read “retold by” because the “author” has not made up that story, but simply told it in his or her own way. A folk tale has been passed down generation to generation, changing over time, often existing with many variations, and often existing in many countries. There is no author. Many folk tales were collected and written down during the 1800’s and so we think of them as being static, as being what we see on the page, but that is only the version that was recorded. A fairy tale is something different in a sense. A fairy tale is often a magical story that involves, if not fairies, magical creature or events, typically in an unspecified time and place, and often has a transformation included in the story.  It may or may not be a folk tale. Some folk tales are fairy tales, some are not. Hans Christian Anderson wrote (he made up) fairy tales, as have other authors. The Brothers Grimm collected fairy tales that were folk tales, and did not make them up. To make this even more confusing, at the time of the Grimms, (they were German) there was no distinction yet between folk and fairy tales as there is today. The word they used which meant both was marchen Now for parable and fable. I am actually going to get out my dictionary for this one. I infrequently tell fables. According to my old Websters Dictionary a parable is a species of fable. A parable is a “story or allegorical relation or representation of something real in life or nature from which a moral is drawn for instruction.” The same dictionary describes a fable as “A feigned story or tale , intended to instruct or amuse: a fictitious narrative intended to instruct some useful truth or precept.”  Hmmm…I believe I would like to leave this distinction to someone wiser than myself.  I’m not certain how much more I can add to that discussion beyond the hint if you always use the word “fable” for either of the two, you’ll not be wrong.

 If you could be one character in a story who would you be and why?

If I could be one character in a story, I might like to be Baba Yaga, from Russian lore. She is the witch-like character who lives in a house that stands and rotates on chicken legs and is surrounded by a fence of skulls and bones in the woods. She rides in a mortar rowing with a pestle and sweeps away her tracks behind her with a broom. Yes, she is strange, but what I like about her is this. All the heros and heroines are always lacking something, and so venture forth on a journey to find that thing, be it wife, a husband, a kingdom, riches, a key to unlock a spell, whatever it may be. They go on a journey, at last obtain what they need, and it is over. They live happily ever after. Baba Yaga, however is just there. She is unchanging, and unconcerned with those things. She has an eternal quality about her and is surrounded by symbols of life (seeds) and death (bones and skulls.) She is powerful and deeply connected with nature. Recall her three riders, the red one – her dawn, the white one-her day, and the black one- her night. She is full of mystery and appears as some sort of primeval natural force. I like her for that.

If you could have coffee with one famous storyteller who would it be and why?

I might like to have tea (I’ve never been one for coffee) with either Jacob or Wilhelm Grimm. I am fascinated by their collection process – scouring old libraries for manuscripts and interviewing peasants for their folk tales. However, I am also interested in the other work of the Grimms. Jacob, the older of the two, did a great deal of work regarding the classification of languages, discovering the roots and origins of the languages that spread across Europe and beyond. Inside an unabridged dictionary, you might well find a language tree showing the relationship of all the Indo-European languages. We owe this tree to Jacob Grimm. He and Wilhelm also created a German dictionary that was so great in scope, and took so long to compile, that it was not finished until almost a century after they began its work, in 1960 though the project was begun in the 1852. That would certainly be something to discuss over tea! (Though rumor has it the brothers passed on sometime during the entries for the letter “F” so I’m not sure if they’d have the full picture on the project.) Jacob and his younger brother Wilhelm, the sickly, and more social of the brothers translated the Elder and Younger Eddas. The brothers  taught themselves to read a dozen languages, and much of the knowledge we have today of the old Norse myths stems from their translation work of the Eddas.  Again, that would make for very interesting conversation. Another option might be to speak with a now unknown Celtic storyteller as I would be curious about how stories were studied, learned and told, and since the Celts had no written language, much of that process remains mysterious today.

What inspires you as a storyteller?

This has changed over time. Initially I was interested in the actual physical telling of the story – the sound of the characters, what they might be like. Now I am more interested in noticing the transition between the oral tradition and the written tradition, and also the world wide similarities among folk tales.

What advice would you give a storyteller faced with writer’s block?

Sometimes the best way to make progress is to step away from the work. My greatest inspirations come at times when I am not just sitting at a table with a pen in hand, but rather when driving, walking my dalmatian, Cuchulain, in the woods, lying in bed, or even soaking in the bathtub. ( I heard Agatha Christie, the mystery writer, used to write in the tub. I think she was really on to something.) The key is to be in a relaxed state where you can access your imagination. I also helps to have a great deal of knowledge about a variety of subjects so that you may draw on that, combine things in new ways and be original.

What stories are you working on presently?

I am working on a puppet show and it involves a leprechaun that comes to the New World, but I won’t tell you any more. It’s a secret! (Leprechauns are known to be secretive, you know.) Actually, the idea comes from a talk on leprechauns I gave years ago. When I was researching them, I was astounded at the number of people I personally met who claimed to have seen Leprechauns in the U.S. so I thought I would do a show on that premise. Apparently we have a large indigenous population of Leprechauns here, or maybe they emigrated at the time of the potato famine. Whatever the case, they certainly weren’t registering at Ellis Island. Interestingly, the people who testified to seeing Leprechauns here weren’t necessarily Irish or Irish descendants but were from a broad variety of backgrounds including Native American so keep your eyes peeled!

Finally, what advice would you give to someone wishing to pursue a career in storytelling?

First and foremost, tell stories. You will improve as you perform, and as you age too as your understanding of the stories will deepen. There may seem a great deal to learn at first, but really, it an illusion. When dealing with folk tales, eventually you will find that there is a tremendous repetition of plots among them. These storylines exist regardless of the location world wide with only slight variations and so like me, you will find a story from Norway will be almost identical to one told in China. (This is true of folk tales, not modern literary tales.) According to one classification system of folk tales, there may be as few as a hundred of these story possibilities, even when the plot seems relatively complex. Sometimes the elements are mixed and matched. Sometimes the story is almost the same entirely. And the story lines can skip from folk tale to myth, and remain relatively unchanged. What this means for you, is that learning a great body of material is entirely possible. Often when I am telling stories, kids will ask me how many stories I know, and I really don’t know how to answer as there are a limited number out there, with many variations. Once you get to a certain point, you find the stories are repeating, and so they become very easy to learn, since you already know the story. Someday, when someone asks you how many folk tales you know, perhaps you will be able to  quite honestly answer “all of them.”

Though I know this article is about storytelling, and storytelling is an interesting profession, I would like to encourage young people to go into puppetry. The truth is, there are few itinerate puppeteers left. Almost no young people are entering the profession and old puppeteers are dying off or retiring. If this continues, once the middle age puppeteers reach retirement, live puppet shows will become rare indeed, and many young people may never experience the excitement and wonder of that kind of live performance. In one sense, puppetry is a form of visual storytelling and the two profession share many techniques. Both puppetry and storytelling tell a story. Both require voice work. Puppetry is more labor intensive, but creates a worthwhile and unique experience that I believe is worth the extra effort, and it allows the artist to create mobile visual art as well as using the artist’s vocal expression. For those intending to go into puppetry, you may search out Puppeteers of America online for information and resources. (There are also Canadian members, in fact, the Great Lakes Regional Conference was held in Canada this year.) For those interested in storytelling who wish to join an organization there is LANES or the League for the Advancement of New England Storytelling, and also NSA or the National Storytelling Association that has a yearly conference in Jonesborough,TN each October for those wanting to surround themselves with great storytelling.

 

Where can we find out more about your work?

My website is www.thepuppets.com.

 

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About Jolene Owen (Editor-at-large)

Jolene Owen is an interactive journalist working in the transmedia sector. View all posts by Jolene Owen (Editor-at-large)

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