ENTERTAINMENT
University Daily Kansan, October 11, 1984
Page 7
October
11
The Great Plains Chamber Ensemble with James Fleisher, clarinet. 8 p.m.
Swarthout Recital Hall in Murphy Hall.
Linda Corrison, photographer, speaking about her work. 9 p.m. Helen Foresman Scream Queens. (718) 527-6000.
Smokey Logg and the Dust Devils 9:30 p.
m. The Jazzyhaus, 92%; Massachusetts
Cruising. 9 p.m., Johnny's Tavern, 401 N. 2nd St.
Susan Hicks, oboe, and Carol Ross,
piano. 12:15 p.m., Trinity Episcopal
Church, 1019 Vermont St.
12
Faculty Recital: Edward Laut, cello 8:30 p.m., Swarthout Recital Hall in Murphy Hall.
Reggae Rhythm with Common Ground. 9:30 p.m. The Jazzahs. 926 12th St.
The Zoo. 9 p.m. Lawrence Opera House,
642 Massachusetts St. Performance Abbov.
Oregon
The Bill Gaither Trio. 7:30 p.m.
Municipal Auditorium, Kansas City, Mo.
30. on saiture, 8 opera, 8 p.m. In
Lyric Theater, Kansas City, Mo.
Final performance.
Stan Getz Quartet, 10 p.m. The Jaz
waters, 926h$^2$ Massachusetts St.
13
14
Sarah Kwak, violinist, and Rita Sloan,
pianist. 7:30 p.m., Helen Foresman
Spencer Museum of Art.
The World of Kameda Bosai, Japanese painting exhibit. Opening at the Helen Foresman Spencer Museum of Art and on display through Dec. 23.
15
Angry Art. Open in the gallery of the Kansas Union. Exhibit through Nov. 4.
16
KU Wind Ensemble. 8 p.m. Swarthout
Recital Hall in Murray Hill.
Kansas Artists Postcards. Opening at the Lawrence Arts Center, 9th and Vermont streets. Exhibit runs through October 31.
orado Springs, Colo., graduate student thinks that masks help hide the dancer and bring out the character.
Jamie Burke, left, Arkansas City freshman, and Allison Baker, right, faculty adviser for the Tau Sigma舞 club, demonstrate the use of masks in dance. Aprylisa Snyder, Col-
Tasks build character, dancer saves
By ERIKA BLACKSHER Staff Reporter
Three masks hang on the wall.
The first is smooth, white and expressionless. The second has bold and dark lines creating an almost cartoon-like expression. The third is colorful and textured with graphic features.
These are not Halloween masks.
These masks are being used by Aprylia Snyder, Colorado Springs, Co., graduate student, to help dancers develop new and more efficient ways of moving. She is doing her graduate work in the School of Education with an emphasis in dance and theater.
SNYDER, WHO DID her master's thesis on applying the use of masks in dance, presented a master class to Tau Sigma, a dance club. Tuesday night. She demonstrated the use of masks and how they舞 the dance's alignment and gestures.
Masks have been used in theater to help actors build characters since the early 1900s in Europe, she said. "I'm applying theatrical theory to dance and that's a little different," she said.
Snyder uses three masks to help dancers develop their movement — the neutral mask, the paper mask and the three-dimensional mask.
Putting on the smooth, expressionless mask is the first step in eliminating the dancer's own personality and attitude, she said.
"ITS FUNCTION is to help give the move a way to identify with a place of calm and repose." Snyder said. By covering up the body, the body's unique characteristics, she said.
"For instance, if they hold a shoulder higher than another one or if they lead with one hip when they walk," she said, "suddenly all these things become more visible because the emphasis is on the entire body rather than just the face."
When the dancer's movement is simplified enough to reflect a sort of 'tabula rasa,' then the dancer can put on the paper mask to start building the character from scratch.
The bold features of the second mask allows the mover to fully express himself, she said. In the demonstration Tuesday night, Snyder used some of the Tau Sigma member to illustrate this point.
"I COULD JUST FEEL my face breaking into the mask," said Joe Reichlin, Seattle senior, after he sat down from wandering around the ballet studio in the paper mass.
Allison Baker, faculty advisor for Tau Sigma, said she misinterpreted how the mask would make her feel when she put it on.
When she looked at the circle-shaped mouth of the mask she thought it expressed a look of surprise. But when she put the mask on her face, something very bad had happened, she said
The process of building the character and his movement peaks when the mover puts on the three-dimensional mask, Snyder said.
SNYDER SAID THAT the masks give the actor or dancer a set of circumstances to build on. "It gives you a concrete character," she said. "This is the person you want to portray, you can put it on, and it's a visual stimulus especially when working with mirrors because it gives you something textural to respond to." she said.
Snyder, who studied at the Drama Studio in London with Sears Eldridge, a master of masks, is the first KU student in her field to present her master's thesis as a performance rather than a scientific study.
Romance, spies and mystery man don't make film
By KAREN MASSMAN
Associate Entertainment Editor
"The Little Drummer Girl." Rated R. Starring Diane Laeane, Yorgo Voyagis and Klaus Kinski, and directed by George Roy Hill. Will be released in Lawrence on Oct. 28.
Romance, espionage, foreign lands and movie stars are necessary elements for a potential Hollywood hit.
Although all of these are present in "The Little Drummer Girl," the Hollywood hit possibilities are not.
Based on the book by John le Carre, "The Little Drummer Girl," the dramatic film is about Charlie, who is an energetic actress working in London. Played by Diane Keaton, Charlie is a Palestinian sympathizer who is recruited by Israeli agents as a double-agent to help eliminate Khalil, a Palestinian terrorist.
TO COMPLICATE the story, Charlie falls in love with Joseph, played by Yorge Voyagis. She knows nothing about him except that he is a leading Israeli agent.
The acting by Keaton and Voyagis is perhaps one of the stronger points of the film.
permaps one of the stronger points of the film. Keaton's versatility as an actress is displayed in her portrayal of the complicated Charlie. As Charlie, she displays vulnerability, fear, wit and strength.
Voyagis portrays Joseph as an aloof yet warm and gentle man who keeps Charlie and the audience wondering about his intentions.
The movie begins with members of the Palestinian force blowing up the home of an Israeli diplomat in West Germany. Israeli agents want to stop Khalili, played by Sami Frey, and this becomes the central theme of the film.
THE ACTIONS and motives of the characters are often difficult to understand. For example, Charlie's role in the Israelis' plan is not really clear until the film is more than half over.
WHEN THE END finally does come it proves to be a disappointment. The rash of deaths seems to be the safest route out for the filmmakers. What better way to end a film quickly and resolve the conflict than to kill half of the cast?
While the story in "The Little Drummer Girl" provides audiences with a break from many of the light films being released, the movie unfortunately will never be a box-office smash.
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