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Tuesday, October 20, 1970
University Daily Kansan
KANSAN comment
LETTERS
Spencer Not 'Desolate'
To the Editor:
Désolation is a misconception about Spencer Library. This distinguished library is not a place of desolation nor is it some sort of office for special individuals. Spencer has many diverse areas; these people are not just professors and graduate students but undergraduates as well. Spencer is open to any student wishing to use books ranging from textbooks to research manuscripts to right and left wing political periodicals. It is certainly not a study cavern
for VIP's. Any student wishing to become familiar with this branch of the KU library system can, because tours are offered every day for any student wanting to become acquainted with the collections of rare books covering many different fields.
Though it may appear 'desolate,' to the many people who have used it and are using it now, this Library has been a major source for their work.
Barry Church
Barry Church
Prairie Village sophomore
Progress Requires Pressure
Bv GARY JACORS
MAKING OUR CASE
Student Senator, Oliver College
Students are among the most abused and ill-treated segments of the community, and much of it is our own. We put up with high retail prices, substantional fees, and even dress codes in places of entertainment. In the University, undergraduates generally find it difficult to must play second fiddle to the graduate and professional schools, which get the highest priority. Even services in such as hospitals or clinics require Union, which serve mostly students, do not seem satisfactory. It seems appropriate that we begin to exercise control over them, entirely ours to make it serve us.
In the community, it's time that those dollars we spend start coming back to us. In a normal situation, people spend money in our community and earn it. Why is it that students can't find jobs, especially ones with decent pay? It's up to all of us to root out those merchants who don't hire student help at schools or proportionate to their amount of student business. We must publicize the names of these businesses and stay away from them. If they same token, there are gas stations, clothing and shoes stores, and by KU students. Dig! Buy! There. Your fellow students can't find jobs, payload prices, are discriminated against and you're feeling it in one way or another, out of which behind it and organize economic sanctions against them.
There's no reason to live in substandard housing and pay too much for it. Economic and legal sanctions can be taken against landlords who rent unsafe and overpriced houses to take care of their workers. We get to classify all the Lawrence housing so we can set reasonable rent guidelines, applying boycotts and even rent strikes
against those who resist. We can in cleaner, better, cheaper housing, but we've got to get together and make sure we all know what it is if they are mistreating, hurting or angering students—and then act.
In the university, as far as a student services like the union and its affiliates is every student's right to complain and expect some change, because his money, and the university, also finances these institutions.
The Union Operating Committee controls the union (students do sit on it). Every employee should provide plaints or suggestions for improving Union service before this committee. Every student should have the right to be made aware of the progress being made in problems in the residence of students in the area of student hospital. In the area of student services, the administrators will respond to pressure for change but sometimes only to a lot of pressure, so we have to learn to handle it. At most and most important, we have to gripe to the people in charge.
Academics, perhaps, is where the most work needs to be done and also, perhaps, where the students are to be administrated. We have students on every academic committee but a lot of grass roots work needs to be done exchanging information with your professors what they think about the $2,000 allotted by the university for lectures and convocations, which is mostly in the form of mainly to faculty and grad students; ask them who they'd rather be teaching: undergrads or graduate students; ask them requirements, grades, majors, etc.
It's healthy and important that every member of the academic community be constantly challenged in his thought about academics, its future and its structure. There are some who
say that academe has changed little in 40 years and it was an inadequate institution back then. Ask your professors and your students for the purpose of an education in times of knowledge easily becomes obsolete and useless within years—ask what our purpose has to do with education. There's been a lot of discussion about what we can do to protect ourselves, to progress reasonably, to function best as a teacher, a mentor, a give and receive. Most of what I want to be done is done through the
actions of individuals' buying in the right places, talking to the right people, supplying needed information, and generally acting as a group's best interests. However, there's a lot of organization work which needs to be done so that students know where to buy, pay, and pay. We need somebody to take care of putting everything we need to know together and also to make sure our raised voices are heard. In all cases, people. That somebody should be the Student Senate. As elected
leaders of the students, senators must deal with the concerns and problems of the students, both within and without the university, or they can no longer consider themselves legitimate leaders.
So if you're digging on some of the stuff here or if you're into some of it, (and there's plenty), call up one of the senators from your school to bring about it. You're going to do about it. (His name and address are available at the Senate Office.) Level all your complaints against him or you need to week to find out what he's done.
Shingeki Blends Ancient with Modern
By MELISSA BERG Konsan Reviewer
Andrew Tsubaki has a bone to pick with Westerners.
The translator and director of the Experimental Theatre produce a work that says the western world too often thinks of Japanese culture as being solely composed of ancient civilizations, especially in the area of drama.
Double Barreled
"Western people go to Japan just to see kabuki, a form of traditional theatre," Tsukai
said. but kabul does not give the westerner an understanding of Japan as a whole, just as imported wild west movies give the Japanese a one-sided view of American culture."
In an attempt to remedy this western misconception, Tsukaihakus has become a strong proponent of the modern Japanese drama of Shingeki, and has translated it into English. Dawn," which opens Wednesday, Oct. 21 in the Experimental Theatre.
A TRAITUE to the gift of man's efforts adheres the entrance to the Cam PANIS, a reminder of man's achievement through his ability to think
The play, successfully introduced in Tokyo in 1968, is a fine example of the modern Japanese drama of Shingeki, a westernized theatre which adapts the traditional form to intellectuals, finding no hope in changing traditional theatre to adapt to modern ideas, completely divorced themselves from it. Instead, they started to imitate the original theatre and trained amateurs in the new drama technique.
The major theme of "Vanished at Dawn" is man's faith in his God and in his fellow humans. In this chapter, we will discuss to this abstract concept, the play is presented as a conflict between Christian and non-Christian and "the 'God is dead' versus 'the 'God is alive' philosophies."
At the beginning of the Shingkei movement, foreign plays were translated into Japanese and acted out. The works of Shakespeare, Ibsen, and Chekov were most often used, until
graunay japanese paywrighs began writing original plays for Shingeki.
However, as the traditional theatre became recognized throughout the world, the developers of Shingeki realized that their work should reflect the same qualities, and at the same time draw from the unique qualities of the traditional theatre.
"Through the juxtaposition of the present with Biblical times, Yahuah successfully discovers the meaning of human existence and answers some of the fundamental questions of religion. Tsubaki and others nightlight to live to accept God and to live in this troubled world."
In his notes accompanying the English translation, Tsubaki explained that "Yashiro avoids projecting reality in an extremely realistic manner. He is not interested in money and customs are always recreated as poetic designs in his works, as if the raw materials are
sifted through his sharp sensitivity as a playwright."
"Vanished at Dawn" is the result of the playwright's own agony and search for peace of mind. After a one-hour program notes, he designated the play as the midmark of his life as a playwright. After the play was written and staged, he converted his life to faith of his wife and children.
The characters, indigenous to the world, rather than restricted to any geographical location, are which are character attributes to insure their universality. However, certain characteristic expressions and imageries have been developed to maintain Japanese flavor.
Yashiro is recognized as one of the most important and active playwrights of this genre, and has written close to 20 full-length plays that have been successfully produced throughout Japan.
Tsubaki's translation of "Vanished at Dawn" was made
possible through a KU research grant and will be included in an Asian drama anthology that he is with other KU professors.
Tsubaki left Japan in 1958 after obtaining an English degree from Tokyo's Gakuten University. He received his MA in Theatre Arts at the Indian University and his PhD, from the University of Illinois in 1967.
"Vanished at Dawn" will open in pin, immed., and wipe through on Saturday, Oct. 31. There will be no performance on Sunday, Oct. 4.
He came to the University of Kansas in 1968 as a specialist in Oriental theatre. Besides teaching a course in classical Japanese acting styles, Tsuabaki the Director of the International Theatre School program devoted to interdisciplinary study in theatre.
KU students can present their student identification and registration cards at the Murphy Hall box office for free tickets.
KANSAN reviews
RECORD REVIEWS Winter's Style Light, Bouncy
By TED ILIFF Kansan Reviewer
Johnny blasts his songs, but doesn't neglect his instrumental dues; he plays the guitar with reckless skill while his three companions (Rick Derringer, guitar; Randy Hobs, bass; and Randy Z, drums) adequately complement him.
The Woodstock Nation's favorite albino has once again produced an album worthy of any record baffl.
Winter's blues are not the pleading, heart-rending slow numbers in the variations of sweating vocalists groaning their problems into the microphone.
**Johan Winter And!" is a jumpy, album with lyrics that invite you with philosophical meaning and lots of good, solid instruments.**
His latest release is a bouncy collection of songs written mostly by the finger. The recording is good; with bass played down and embodies the power of sound.
The only two "slow" cuts are rather poor attempts at ballad selections. "Ain't that a kindness?" and "Let the Music Play" are intended to interlude to the other heavy cuts, but these ballsac subtombs to the easier cuts, and the lyrics, at times效佩, are lost to the heaviest beat.
Highlights are "Rock and Roll Hoochie Coo." featuring worthless lyrics but instrument worthy of repeated listening. "On a Outa Lina is skipping, bouncy song with lyrics that don't really fit the mood of the album, but the vocals are covered by the guitars, so shenine is really lost."
"Prodigal Son" and "Funky Music" are two other mentionable cuts.
The album starts growing on you the more you listen to it. In this day of heavy messages and admonitions in music, this is one record you can listen to for pure enjoyment without religiously listening to some hidden message.
Both favor instruments to voices, but Winter is so competent at his guitar that the lyrics can be naturally neglected by the listener.
It's not a record to rave about, but it is entertaining and well worth a try.
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'Joe' Combines Bigotry, Humor
By CHIP CREWS Kansan Reviewer
It is a rare thing for a movie to do several different things and do them well. Joe does it. It is at once brutal, engrossing, and funny.
The story, which centers upon the unlikely friendship up to sophisticated, sixty-thousand dollar a year executive, Compton; and Joe, a hardhatted, hip-hatin' red, white-blue-blooded factory worker, is well notted by screenwriter Norman Waker.
After seeing his daughter, Melissa, in the hospital suffering from a bad attack. Trust her to come with whom she had been taken. Surprise numbly into a bier later, he comes on. Joe: the defender of the faith, the true believer, ranting on about "the niggers on welfare," and "the darn kids that screwin'
Compton lets it slip that he has just murdered a damn kid, and, though he tries to cover it up, Joe remembers it. When Joe sees the murder detailed on the news later, he is sure that he has been informed. Calling Compton at his office, he requests a meeting.
"Year, I do a lotta talkin'," says Joe. "But you went out and did something."
Because he fears blackmail, Corpten goes. He expects the worst and is shocked to find an incompeable reaction from Joe:
And so begins the strangest screen friendship since ratus and Joe Buck in "Midnight Cowboy." Improbable as it may seem, its motives are sound. Joe admires Compton for what he has seen in life — a kind of part of him that often becomes unbeatable seem justifiable.
Compton is the weaker personality, his convictions are more swayed. Not surprisingly, Joe has a tremendous influence on him.
The scenes together are funny, pathetic and touching. When Joe asck Compton how much he makes an hour, Wexler blends just the right combination of the three elements. Right down to picture its pit-of-the-stomach conclusion, their relationship is real.
No doubt the funniest scenes are those at a hiveparty Party. Joe and Compton are looking for Melissa, who has run away from the hospital, and are trying to get to know some Greenwich men. They are in all the information from them. In no time, they are indulging in all the games they play and enjoyting them. Especially uprairies are their fervent drags on an opium pipe and Joe's athletic lovmaking.
Superb as the other elements of the picture are, though, none of them is quite as good as Peter Boyle's lip-smacking, glinted-eyed, grandiose romance as Joe. But the film's showiest role, a teacher at a teacher's co-education, laughable an ingratiating, funny, sometimes likable fellow.
And this sets us up. We are supposed to laugh at Joe, supposed to halfway like him. a character like Joe can only be funny if he is not taken seriously, and Joe appears to be little more than a cool and round nice guy with rather ridiculous beliefs, the kind of guy you'd expect to see at a White House hunchon: crude, rude, but notentially the crude, rude backbone of America.
The film's humor—and there is a lot of it—is the kind of sick, sad, bad, mad, gladd that audiences thrive on today. It isn't funny that Joe says that all that blacks do is forcicate, but he says that airfare checks; what is funny is that he believes it so fervently.
Well, he's not. Joe is a bigst, a racist, a redneck; he is apallingly misinformed and he believes what he believes strongly enough to kill for it with all the self-satisfied sanctuary of an Old Testament God. He is self-righteous and he is wrong
The viewer is slow to come to these conclusions. Joe's affable humanity gets in the way, which as it should be. By making us laugh at Joe, the film's creators make us admit that we don't take him seriously; yet later we realize that we must.
With a final scene that comes ripping across the abdomen like a rusty can opener, "Joe" makes its message clear. There are people like this. The situation really could happen, and most of us are laughing far too loud and long.