4
Friday, April 23, 1976
University Daily Kansan
Arts & Entertainment
Psuchic phenomenon
The housekeeper, Mrs. Grose, left, played by Janice Johnson,
Lawrence graduate student, and the Governance, played by
Frances Ginsberg, Dallas, Tex.,Jun.14, act out a touching moment in the opera "The Turnaround" the opera will be performed at The Metropolitan Opera, April 30 and May 19.
Summary Comments
A MONTH OF SUNDAYS, by John Udike (Crest, $1.95) . The Rev. Tom Marshfield is the hero of this latest big-seller by Updike. Marshfield being a man of intelligence secundal within his parish because of his dallying with too many of the ladies in the flock. As with most of Updike's novels, "A Month of Sundays" was an indiscreable praise when it appeared in the hard-back edition.
DAMON, by C. Terry Cline Jr. (Crest, $1.35) - A psychological thriller about a 4-year-old boy with the mind of a genius who has been taken hostage. The book is based on medical fact, and it is a horrifying little tale, with subject matter mainly for those who were not troubled by Tyron's "The Exorcist" or Blatty's "The Exorcist."
HEART OF GOLD, by Russell H. Greenan (Crest, $1.50)—A new book by the author of "It Happened in
Boston?' It's about Amos Cavaughan, rich man who wants to take his money with him into the next world, and about his attempts, with the help of a professor, to do so.
ONE WAY TO VENICE, by Jane Ahnet Hodge (Crest, $1.50) - A Gothic a bit classier than the rest, she receives evil, taunting letters about her missing son and about her own earlier days in South Carolina. The son, according to the book, returns to Mom goes Mama to look for him.
TOLL FOR THE BRAVE, by
Jack Higgins (Gold Medal,
$1.50)—A dandy adventure
in the White House, a
been prisoner in North
Vietnam, returns to England,
see two Vietcong soldiers there
in the English countryside, and
involved in terror and intrigue.
THE STONEWALL BRIGADE, by Frank G. Slaughter (Pocket, $1.95). The story of a young doctor with
Stonewall Jackson in the Civil War, about the carriage and the heroism and his encounters with such people as Lincoln, Lee, Jeb Stuart and the great Jackson himself.
MONISEUR, by Lawrence Durrell (Pocket, $1.59)—A new one by the author of the famed "Happy Turtle" with a "happy trinity of lovers" in the medieval walled city of Avignon, a pilgrimage to Durrell's beloved Alexandra, its gifted host in the Gnostic cult of suicide.
FREEDOM FROM BACKACHES, by Lawrence W. Friedman and Lawrence Galton will be back in 1953; they may be welcomed by a good many readers, whose problem is no laughing matter. Instructions, with illustrations, on get rid of backache "forever."
HOLLYWOOD'S GREATEST LOVE STORIES, by Dick Kleiner (Pocket, $1.95) - Breathless stories about Ingrid
and Roberta, Ava and Frank,
Rita and Aly. Hepburn and
Kristen. Danny and Clark
Clark and Carole, Sophia
Carlo, Marliny and Joe, Liz
Jay and Ingarman, June and
Pike and Fred? Have?
and MacMurray).
GROUCHO, HARPO, CHICO AND SIMETIMES ZEPPO, by M. K. BENNETT. An encyclopedia of the Markes. Anecdotes, trivia, information about the movies, anecdotes, anecdots, good biographical material.
WILD TURKEY, by Roger L. Simon (Pocket, $1.50) and DEUCES WILD by Dell Shannon (Pocket, $1.25) - Two detectives about a detective named Moses Wine, who pals around with the freaks of LA. and is a real swinger - no Jane Marple he. There are about the cups in LA. Are there police in any other cities?
Bibliophile
Opera re-creates novel
By PEGGI BASS Staff Writer
Taking ghosts, eerie shadows and nerve-grating sound effects will occupy the University for the next two weeks.
"The Turn of the Screw," an opera by Benjamin Britten based on the novel by Henry James, will be presented at 8 tonight, tomorrow night, April 30 and May 1.
The story centers on the experiences of a governess, portrayed by Frances Ginsberg, Dallas, Tex., junior, who is hired to care for two psychiatric Miles and Flora, playwrights. He helps Hedge and Chris Kahler, Lawrence graduate students,
THE STORY DEVELOPS from a description of life in 19th century England to a mysterious ghost story when the figures of the past valet and governess appear to the
The valet, Peter Quint, is played by Keith Buhl, Lawrence sophomore, and the former governess, Miss Jessel, is portrayed by Nancy Atkins, Lawrence graduate student.
children and their new governess.
Mrs. Grosse, the housekeeper of the Bly estate, which provides the setting for the operatic ghost story, tells the governess that the two ghosts were lovers while alive, and were killed when their relationship was broken. Janice Johnson, Lawrence graduate student, portrays the housekeeper.
The governess becomes the fighter of an evil she can't identify, except through instinct.
TOM REA, assistant director of the University Theatre and stage director for the opera, said Wednesday that the success of the production depended on the audience's reaction to it.
"There are two interpretations," he said. "Either it is a story which really occurred, or it's just a dream that happens in the governess' way." The reader wavies, and that's the real test.
Rhea described the production as faithful to the novel, the only thing being the presence of talking characters in the novel, there are only narrative accounts of their occasional appearances, he
He said that the tense atmosphere of the setting was supported by the music, written literally for the story by Bjtten.
BRITTEN'S COMPOSITION, which combines theatrical effect with metody, premiered in 1886. The novel first appeared in 1888.
George Lawner, professor of orchestra, is the musical director of the singers and the 15-piece orchestra.
Catherine Rogers, Lawrence graduate student and assistant stage director of the opera, said she is learning a learning experience for her.
She said that her participation partially fulfilled a departmental requirement for a master's degree in thetheat
"I had a choice of working on this opera or one of the Inge Theatre productions. This theme led like a novel," Rogers said.
"IT TOOK A LOT OF
research," she said. "And I had
never done anything like it
before."
Stage manager for the opera is Dennis Howell, Ormaha, Neb., special student.
Students will be admitted free by showing spring registration cards. *Tickets may be obtained from the box office.*
Raitt has uprooted South's blues
Public admission is $1.7a,
$2.50 and $3.25, depending on seat locations.
By BILL UYEKI
Bonnie Raitt
A fine blend of old country blues and refined rock will fill Hoch Auditorium next Thursday when blues artists Bonnie Raitt and Mose Allison come to KU.
Ratt, one of the most widely known, white female blues singers, has just completed a stint with the classy redhead who picks a mean bottleneck slide guitar. Ratt captured the hearts of many when she gave a gutty performance in Hoch two years ago.
ALLISON IS regarded as one of the finest white Southern blues artists, singing and recording many of his own works. He has reflected his Mississippi childhood, lean toward Southern country and western, but his piano playing falls in the jazz genre. Now 49 years old, he has released 15 albums.
Raitt is the daughter of Broadway music star John Raitt, who has appeared in "Oklahoma," "Carousel" and "Pajama Game." Raised in a family of developers, he developed love for music when her parents, both Quakers, sent her to a Quaker
summer camp in the East in the early 1960s.
SHE QUICKLY to took the Southern blues, the raunchy, bowling style that has its roots in the 1940s. After attending Radcliffe and having a brief career as a typist, Raitt began performing in 1989 after major performance was in 1984 the Philadelphia Folk Festival.
The blues of black artists such as Robert Johnson, Son House and Fred McDowell are
reflected in her music. While traveling with some of these musicians, she mastered the bottleneck slide guitar technique, used by many Southern blues singers, Sippie Wallace, a black woman blues player, is part in Part Raitis's career. Many of the songs on Raitt's five albums have been written by Wallace.
successive album, her music has broadened from basic blues to include forms of rock, rhythm and blues, and jazz. Her steadiest musical companion through all the albums has been The Rattlesnake platter. Raitt also has played with Lowell George and Bill Payne of Little Feat and John Hall or Orleans.
Allison hasn't confined his music to blues, either. Since the 1950s, he has played with such notable New York jazz players as Stan Getz, Al Cohn, Zoot Sims and Gerry Mulligan.
Ratt says one of his songs,
'Everybody's Cryin' Mercy'
on her album 'Taking My Time.'
RATTT, 26, has released two albums, "Streetlights" and "Home Plate," since her last KU performance. With each
BOTH RATTY AND ALLISON have benefitted blues musicians by making the music more accessible. Black bluesmen have been playing this form of music for over a century to small or limited audiences.
Now more and more young people are being exposed to the music of America, And Ratt and Allison haven't just hitched a ride on a popular music bandwagon—they're right down to its very roots.
'Edvard Munch'a work of art
Reviewer
By CHUCK SACK
In the simplest of terms, it comes down to this: I've seen the greatest film ever made, and it isn't enough. Peter Watkins 'Edward Munch' is through, I've been longing for, and I have three times this week. I've calmed down enough to realize that it's only the greatest film I've ever seen.
I'm not talking about the greatest historical re-creation, or the greatest documentary, or the best treatment of an artist and his life, although it's all of those things. "Edward Munch" was one of the most possible, and justifies all of Watkins' insistence that the cinema shouldn't be prostituted to pure entertainment.
THIS IS THE FIRST work of celluloid art to adequately convey the complexities of life and thought that have long formed the basic subject matter of the modern novel. This
biography of the neglected Norwegian painter is a psychic portrait of the artist as a young man.
A film like this has been possible for some time. The individual techniques aren't new, but the combination is revolutionary. However, it's almost easy to overlook this because some of the serious actors in the commercial movie are inching towards something like this for the last five years.
John Cassavaset has explored much of the same ground in improvisation. Robert Altman has delved into multi-track sound recording. Nicholas Roeg has used a complex scheme of editing flashbacks and flashforwards into the main Anthem and Animate Conrad Hall and Vilmos Zsigmond have experimented with impressionistic color control.
But while each of these men, and others like them, has mastered several of these
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THE UNIVERSITY DAILY KANSAN
Editor
20th YEAR
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Programmer
techniques, Peter Watkins has fused them into a psychological concent.
IN "EDVARD MUNCH") there are moments when the sudden expansion of scope and detail threatens to tear the
thousands of other ways in which this innovative combination of techniques can be used. There has never been a more satisfactorily utilized first person narrative on the sound-
"... Munch was a largely normal person whose social anxiety was so keen that he actually sensed the future. To refuse to recognize the parallels in contemporary life is to deny hope of positive change."
THE RESULT OF THESE individual currents is a density and insight that has been developed in many works. Finally, the film gives a composite picture of a character on many different levels, with an immediacy made in any other medium.
viewer apart. in one section, after one of Munch's love affairs breaks up, there's a flurry of editing; images from three separate phases of his life follow each other in rapid succession, from the society at large and the artist's work in particular.
Simultaneously, the soundtrack plays an interview with Munch's aunt, with an overlay of passages from Munch's diary or the commentator's description of contemporary events. An unnaturally this two sister, continuing tracks replaying cries, whispers and sounds from earlier sections of the film.
THESE TECHNIQUES are the visual andural equivalents of the structure of our memory, as we startlingly startling. Unlike any other experience I've had in dark theaters, this film breaks down the barriers that allow us to feel the stories from the follies of the past.
"Edward Munch" is such a complete breakthrough in film form that one instantly sees
track. Now, in "Edward Munch's" nonsynchronized images and multi-layered skins that has pointed the way.
Unfortunately, after seeing this work of art, there is a tendency to try to categorize it in some ways. To the film, one of Munch's contemporaries remarks that, "It was given to the mind of Edward Munch to discover panic and apparently social progress."
This, too, has been the thrust of Watkins' work. earlier films, particularly those set in the future, have been savagely criticized by the populative garbage." It should be overlooked that Watkins' social commitment hasn't been abandoned here.
MUNCH'S LIFELONG STRUGGLE to fight the suppression of his own personality is more than just the depiction of his plight. It is a metaphor for the individual's plight today.
"Edward Munch" details the life of one man, but it puts that person firmly in the framework of a repressive society. The society is no less repressive than the earlier one, and that it is frighteningly similar. The concerns about family, friends, lovers and laws, voiced by them, are intensely as those of our own day.
The film gives the distinct impression that Munch was a normal artist who had been so wrong that he actually sensed the future. To refuse to recognize the parallels between contemporary and to deny hope for change.
That's why "Edward Munch," the greatest film I've ever seen, isn't enough. Quite apart from the many other (and more urgent) areas the film engages with, "Edward Munch" points way toward the next stage of development in the film form.
REST ASSURED THAT it will be a long, slow process. But as other filmmakers adapt these devices and use them as integral, artistic tools, the face medium should be transformed.
For those few hundred who could see "Edward Munch" this week in its premiere film, the director can repeat a line from the film and place it in the context of my remarks. "Here and now a new phase begins in the history of cinema," he can say that you witnessed it.
Concerts
BONNIE RATI: One of the top female blues vocalists around today. Rati synthesizes her voice with her eary voice, straight from a 1920s honky-tonk bar. Appearing with her is Moe Brenner.
(8 p.m. Thursday in Hoch Auditorium)
VARSITY AND CONCERT both bands will feature soloist Raymond G. Young, director of the Varsity and University diversity. Two KU students will also solo, and two will conduct. (3:30 p.m. Sunday in Univ
PERCUSSION ENSEMBLE:
George Boberg, associate professor of wind and percussion, will conduct this group of students in three compositions for percussion. A work by Bruce Penner, Lawrence senior, enlisted Territories will be performed for the first time.
This Week's Highlights
(8 p.m. Wednesday in Swarthout Recital Hall)
BLUE ROSE CAFE: A group
business that mixes a
mixture of rock and
blues its music shows a blue-green
grain influence in the tradition
(8:30 tomorrow night at Off the Wall Hall)
Lectures
MANDOLIN AND GUITAR
ENSEMBLE; 11 musicians,
under the direction of Jeff
Dearinger, will perform Bach's
"Brandenburg Concerto" and
"Sonata" by Mauro Guillana
(8 p.m. Sunday at the Lawrence Arts Center)
GEORGE BUSH: The recently appointed director of
(8 p.m. Monday in the University Theatre)
the CIA will speak as part of the Vickers Lecture Series.
AN EVENING WITH RUBY
AND WINNER. Actress Ruby
been performs at theater and
television. Her husband,
Joseph, plays wright and director.
(7:30 tonight in Hoch Auditorium)
Theater
TURN OF THE SCREW:
A opera by Benjamin Britten,
based on Henry James's novel of
the same name, and
Tom Rea, associate director of
the University Theatre, and
George Lawner, professor of
orchestra, the play has a strong
involving ghosts and
governances.
(8 tonight, tomorrow night,
April 30 and May 1 in the
University Theatre)
THE WILD FLOWERING OF CHASITYT: Also entitled "Chase At the Stage," this book features melodramas by Dutton Foster.
Exhibits
(8 tonight and tomorrow night in Hashinger Theatre)
(Through May 7 at the Kansas Union Gallery)
(Through May 30 in the Museum of Art)
SCHOLARSHIP ART SHOW:
at the art gallery of painting,
an sculpture, judged by 15 faculty
members in the department.
15TH AND 16TH CENTURY
EARTHQUAKES,
gravitating, mostly from Gers-
man and Italy. Works by
Mantena and Durer are in-
Films
YOUNG FRANKENSTEIN:
Gene Wilder wrote, and Mel
Brooks directed this mirthful
malange.
A DOLL'S HOUSE: This production of Henrik Ibsen's play features a very sensitive atmosphere, Blair Bloom, and little else.
THE FRONT PAGE: Not the Billy Wilder bastardization of last year, but the 1931 version of his book. Charles Macr. Arthur stage play.
CLOSELY WATCHED TRAINS: Jirl Menzel's comit tragedy by a dispatcher in a dismal, tiny train station in Nazi-occupied Czechoslovakia imaginative and funny, until
THE MAGIC FLUTE:
Ingmar Bergman's filmed opera is somewhat thin on the
sound, but it's brilliant in novative in its imagery.
ALL THE PRESIDENT'S 1976. Actually, this is much more accurate in its depiction of the newsroom. Unfortunately, it lacks a sense of identity for Ford and Hoffman's well-known features and into their
TAXI DRIVER: Paul Schrader wrote it. It Martin Scorsese directed it. Robert DeniRo wrote it in it. Convived?
Robert DeNiro stars in it. Convinced? In part of the 1932 movie, this is a chase to hear Paul Rohsen and Morgan at the peak of their stunts. The movie's central love story isn't much, but the secondary story of his injustice was brave for its time.
(7:30 tonight in the Lawrence Arts Center.)
Check ads for theaters and times.