14
Friday, October 10, 1975
University Daily Kansan
ARTS & ENTERTAINMENT
Students create art from stone
Staff Photos by GEORGE MILLENER
Mary Swift, Des Moines junior, chisels an edge on her abstract sculpture.
Taking advantage of the bright, Indian summer weather of the past few weeks, 14 students enrolled in a section of Sculpture I chipped away at the canvases and carved可vibe substances in their first carving assignment of the year.
They work in an improvised terrace behind Baltha Hall, near the annex to the museum of sculpture division of the department of painting, printmaking and sculpture.
One of the students won't be eligible, however. The sculpture project of one of the group, an Iranian exchange student, was stolen from the terrace last week. Frater, who described the theft as a "very recently that such thefts are a chronic problem for art students attempting to display their work.
Under the direction of Bernard Frazier, professor of painting and sculpture, the students will complete the sculptures and submit them for evaluation by sculpture and architecture professors and their fellow students. A grade will be assigned after the evaluation.
Student exhibitions in Strong and Murphy halls have had to be discontinued because of the rate of theft of the painted oils, drawings and sculptures.
While Terre Meinershagen,
Higginsville, Mo., freshman,
works on his free-form stone
sculpture, left, Paul Weber,
Richfield, Conn., sophomore,
begins work on a wood free form.
Where is "The Passenger?" The film, which stars American actor Jack Nicholson and Maria Schneider, the ripe young girl from "Last Tango in Paris," played in Kansas City, Mo. last spring. Directed by Anthony Hopkins, also the odd-on-favorite to win the Academy Award for Best Foreign Picture next April. Why hasn't it opened in Lawrence?
For that matter, why haven't Goddard's "Tout Va Bien" or Louis Malle's "Lacombe, Lacien" been here? Where are suspense films? What happens in Resnais's "Staviky", which stars Jean-Paul Belmondo and Charles Boyer?
The public tends to think of films that aren't American made as being austere and pedantic. The thought of wading through subtitles dissuades them from going, even though they can see the world in the subtled form.
Actually most of these films are available in English version. The new breed of foreign directors, like French film-maker Constantin Costa-Gavras (Z" and "State of the Union") has had the ability to shoot films in ways that will make re-dubbing the soundtrack for the international market easy.
"The Passenger" also has long passages in English. The fact is that very few foreign films make it to the local theaters. Yet 20 of the 77 films last October were of foreign origin. Reviews in nationally distributed magazines might be expected to arouse interest in potential viewers. But even with such ready made publicity, only two of those Python and Holy Grail movies—a Brief Vacation," have been screened in Lawrence.
Bernardo Bertolucci ("The Conformist" and "Last Tang in Paris") has completed "1900," a film that stars American actors Robert DNeiro, Burt Lancaster and Donald Sutherland along with an Italian supporting cast.
Part of the problem is the quality of the films. Outside the United States, most pictures aren't produced for international consumption. They must be processed in locations at a loss to put the national talents in a showcase between Hollywood imports.
By CHUCK SACK
Reviewer
Those that aren't more propaganda are usually inferior to the ones of the rest of the world's films ever reach the United States.
By BILL KATS Staff Writer
KANU plays bop cool and all that jazz
Although the era of Kansas City jazz has long faded, the Lawrence-Kansas City area is still getting its dose of jazz. It's no longer Charlie Parker, Jay Z, or the young junggam nightinghy in small clubs, but it's about the best next thing to it.
KANU radio is acquainting its listening audience with what was happening then and what is
happening now in jazz. Seven days a week the station has jazz programs, 35 hours to be exact.
JAZZ CAN JACK be heard on three KANU shows and on one KANU-produced AM program for another station. This gives
Since the birth of the station in 1923, jazz has been regarded as an integral part of the right alongside classical programming and the public radio station's regular features.
Foreign films alien here
THE UNIVERSITY DAILY KANSAN
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SUA doesn't have nearly the financial overhead that must concern Commonwealth, but it still has to worry about making a profit. But SUA's situation is much more flexible. Instead of mickiming Commonwealth, when the film comes out, break new ground? The Mexican "Lucia" is the only foreign film made in the last five years that hasn't been here before.
four films were in town earlier this year.
listeners a full spectrum of jazz from morning until late at night.
He has done his show, The Jazz Score, almost continuously since 1988, when he began attracting a loyal follow with the Saturday morning show. The talent is still picking up new listeners left and right, at its 10 a.m. to 1 p.m. time slot.
Much of the credit for the thriving condition of jazz at the station must go to station manager Dick Wright.
Wright, a KU graduate, has helped mold two of the most successful jazz in on KANU's schedule. Jazz in the Night and The Jazz Scene.
For more than 20 years, the University had a free International Film Series that guaranteed the opportunity of attending and seeing recent foreign films. Since that series' demise two years ago, SUA has failed to fill the gap, and none of the local剧院 can be depended on to offer them. Without a series to educate new viewers and sustain the old viewers, the overall programming in Lawrance has grown. and the danger exists that the great audience might dwindle further.
Wright has always maintained a love for jazz, even though he started his career as an opera singer, winning a Metropolitan Opera regional audition.
Yet two weeks ago, Commonwealth drained the last few dollars from another release of "The Sound of Music," and SUA brought back "Larry the Arab," which had already been on TV. The market is still largely untested.
GROWING UP IN A household where Duke Ellington was regarded on equal ground with Enrico Carlo and helped the stuffy anti-jazz attitude by some music elists.
"I think my show is pretty much keeired to the real jazz lover," Wright said.
Wright said he wanted to attract new people into listening to jazz through his show. He needed to offer something for the listeners who wanted more than just background music.
When Wright and Shivers tired of doing the live show night after night, they began to for four young announcements with a knowledge of where to place them. The show is now announced by four students.
Indeed, his love for music shines in in each of his well-documented shows.
Wright and Shivers began the program in the summer of 1973 in the time slot which had been held by a rock show. They said the station made the move from rock to jazz for two reasons.
Wright also played a vital part, along with fellow staffer Gary Shivers, in the creation of the program Jazz in the Night, which is held weeknights from 10 p.m. to 2 a.m.
They said they could not compete with the Kansas City rock stations, largely because of the large amounts of money it would to support a rock record collector. The little jazz programming in the Lawrence-Kansas City area.
THE JAZZ SCENE IS a virtual history of the genre. One hour of the Saturday show is devoted to some style, musician or instrument important to the evolution. Wright's emphasis is focused on the bop and cool eras with which he grew up.
Jazz in the Night began on the strengths of Wright's 700-year record jazz collections. They alternated nights doing the call in show and attracted 30 to 40 musicians from jazz fans all over the state.
THE AUDIENCE FOR JAZZ is growing, Hammond said, and the new knowledge of jazz makes it impervious to attacks. He said a thorough knowledge of the styles and movements involved.
He has a good number of regular listeners, he said, including the author and leading prisons who sometimes write in requests.
Bob Hammond, one of the announcers, said the Jazz in the
SUA, even more than Commonwealth, should realize that there is an audience for these films. Two years ago, nearly 1,000 people flocked to Woodruff to see Pascal's "Decameron." The film wasn't initially well-adapted to a creative and suggestive campaign brought in the company. This semester, a single Thursday night performance of "Personal" drew 450 viewers.
Instead of repeating "The King of Hearts," why not take advantage of Commonwealth's overages and bring the Italian Drede, Alfredo." which stars a young Mirella playing "Enmannauelle," who not play Pasolini's bawdy and X-rated "Canterbury Tales!"
Hammond said the show acts as a type of general information clearing house for anything about jazz. He is liable to get a call from someone for a particular group, or requesting information on the development of a particular player.
He tries to expose the listener to as wide a variety of jazz forms as he can, Hammond said. Although he gets requests for many of his own performances, there are certain artists, like Ellington and Parker, that must be played in the course of a four-hour show. Nearly half of the cuts played on "The Night are
Nearly half of the cuts played on Jazz in the Night are requests, Hammond said.
Night still gets 30 to 40 calls a night, requesting records or asking for information.
In addition to these two shows, This Afternoon, a jazz show, is offered from 2 to 3 p.m. Sunday night Jazz in the Night spot is hosted by Wright from midnight to 2 a.m.
KANU also offers The World of Jazz from 7:06 p.m. to 7:30 p.m. weeknights, on WREN-AM, 1250.
Less than a quarter of those that come here are ever shown commercially outside New York and Los Angeles.
The films that survive these eliminations generally do so on the strength of their directors' names. Bergman and Fellini are strong enough that even their made-for-TV films get a touch of Lawrence. The drama of Francois Truffaut, Bertolouc and Costa-Gavras is seen throughout the country.
The films of Antonioni and Luis Bunuel are borderline. If one of their films shows commercial potential, then it might receive a limited release. However, much of what is vital
Lawrence, which has only five screens, is a key city. So foreign films are the last to be booked and the first to be bumped. "The Tall Blond Man with One Black Shoe" was
Furthermore, only a limited space is available for the smaller demand foreign films. "Jaws" opened in Lawrence before it reached New York, but Commonwealth's contract required the local theater to play it for a nine-week minimum run. Also, Universal, the distributor for "Jaws," undoubtedly received a guarantee from the chain to provide play dates for the studio's lesser products in key cities.
Instead of repeating "The King of Hearts," why doesn't SUA take advantage of Commonwealth's oversights and bring the Italian "Alfredo, Alfredol!", starring Dustin Hoffman? Instead of playing "Emmanuelle," why not play Pasolini's bawdy "Canterbury Tales"?
to serious students of the art is never offered by local exhibitors.
Lawrence's theaters are all owned by Commonwealth Theatres, which is in business to make a profit. Foreign films aren't considered good drawers.
This summer, Hillcrest Theatres showed Vittorio De Sica's last film, "A Brief Vacation." In one week, its gross was less than one-third of that of the re-release of "The Seventh Voyage of Sinbad" little better to encourage even the most conscientious of exhibitors.
Commonwealth is a chain, and most of the programming for Lawrence originates in Kansas City, Mo. The theater managers are in the curious position of being able to suggest titles, without having the power to choose them. "A Brief Vacation" played here at the end of the summer season, when the abbreviated student body and faculty members were tied up with finals and last minute preparations for vacations—not ideal conditions for testing the foreign film market.
SUA's showing of "Scenes from a Marriage" this weekend comes fast on the heels of its first exhibition of the same picture at double the price. The short four-month time span between Commonwealth's showing and the local theater managers. But "Scenes from a Marriage" was available from the national distributor for more than four months; it was shown in Lawrence.
It is unlikely that Lawrence could immediately support Bresson's beautiful, but pom-po-winged look, or even Mavakejev's sexy, delightful, but avant-garde "WR: Mysteries of the Organism." Those must be provided for SUA and the future.
scheduled last spring, only to be pushed back until it disappeared entirely. This week Bunnel's "The Phantom of the Liberty" was dropped to accommodate a third week of the overpriced "Give 'Em Hell, Harry."
Is SUA the salvation for foreign film fans? Hardly. The Popular Film Series this season films, an unusually high number. However, none of the selections breaks any new ground. Besides "Scenes from a Marriage," only Fellini's "The King of Hearts" was both a recent and a serious work. "The King of Hearts" was made in 1967, and "Emmanuele" is porno-chic. All
But let's demand and support the mainstream geniuses of the foreign cinema. Why not start with "The Passenger"?
Theater
TELEMACHUS CLAY—A work of a tribute piece of dated cement. Worthwhile, though, for the entertaining characterizations.
(Through Saturday, 8 p.m. Inge Memorial Theatre.)
Opera
(Opening Tuesday, Oct. 14, at Kansas City Lyric Theater, 11th and Central, Kansas City, Mo.)
LA BOHEME—Love and Jeath in the Latin Quarter of Paris, as seen by Glacoma Puccini in a poignant, melodic classic. The last of five productions of the 1975 Lyric season.
Exhibits
THE VISUAL ARTS AND
INTERPRETATIONS of the lyric and
interpretations of the lyric and
highly structured poetry of
Germany's Rainer Maria Rilke.
Coordinated with the German
International Rike Symposium.
(Through Nov. 30 in Museum of Art.)
CONTEMPORARY IMAGES—A gallery tour of prints and drawings produced within the past three years by artists in the Artist's Club. Artists include Claes Oldenburg, Rockne Krebs and Jasper Johns.
This Week's HIGHLIGHTS
Recitals
(Through Oct. 19 In Kansas Union Gallery.)
MALCOLM FRAGER—The University's artist-in-residence playing the piano and teaching
PHYLLIIS BRILL A
soprano, this assistant
performs with will perform
performances by Purcell, Schertb,
Debussy and Bernstein.
(8 p.m. Monday, Oct. 13, In Swarthout Recital Hall.)
in two master class sessions.
(Monday, 10 a.m. to noon and
8 a.m.) In two master class, 8 to
10 a.m. and 8 to 10 p.m. In swat-
ter Recall Hall!
EASTMAN QUARTET—THE Chamber Concert Series, this piano quartet halls from the fernstown Eastman School of Music
Films
(8 p.m. Wednesday, Oct. 15 in Swarthout Recital Hall.)
MILLION DOLLAR LEGS-
were better in this big
in this screwball comedy,
possibly because the madcap
pace helps take the aid off of
their head.
CITY LIGHTS—The little tramp falls in love with a blind girl in Charlie Chaplin's most adoring comedy and social commentary. The comic highlights include the tramp's on-again off-aight relationship with an artist whose brilliant boxing match (1921).
A DOG OF FLANDERS—A Disney heart-warmer made
COMEDY SHORTS—Buster Keaton, Liam and the kicks in the road, ruthless through their routines in this ill-chosen assortment. The Kobe's best weapon is Keaton's weakest, and KEYSTONE HOTEL features the Kops after their most important matches, left for greener pastures.
THE MASTER GUN-FIGHTER-Tom Laughlin, the more conventional Jack," makes a depicts the frontier as a political and moral muddle. Naturally, his hero is a peace-loving slaughterfaintly slaughters everyone who interrupts his meditations.
SCENES FROM A MARRIAGE-IU Lillman and Joseph Ehrhardt as the ideal teacher of interdisintegrates. Originally shown in six, one-hour installments on Swedish television, this is much less harrowing than "Cries and Directed by Ingar Bergman."
before Walt died and the animals abandoned animals in favor of people. Shown with the animated PETER AND THE ANIMALS
GIVE 'EH MELL, HARRY—
A filmed stage production that
was adapted as Harry Truman. The script is so
shortsighted of the filming.
THE WILD PARTY—This film is based on a poem that was inspired by the Fatty Arbuckle case, its primary claim to fame is that it shows which gives a decent performance as the indecent herine.
THE WILBY CONSISTENCE
CONSISTENCE is erratically entertaining套牌
Michea Caine and Sidney Pollier. Unfortunately, they don't generate the necessary excitement to make it passable.
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