art Gaulin fascinates with Mithe company investigates new theatre By DEBBIE KRIVOY Collegian Staff Writer A pedestrian perception of mime usually pictures a performer in white-face and a striped sailor's pullov er standing silently on a bare stage. Musical accom paniment and/or set properties are seldom envisioned. This conventional outlook was challenged Saturday night, however, when The Paul Gaulin Company presented "Mirage" in Eisenhower Audito rium as part of the Artists Series' Theatre/Dance Series. Gaulin is part of a new wave of theatre companies devoted to broadening the popular and narrow defi nition of mime. Though the three performers that comprise the company have had a good deal of classical mime training, all having studied under Etienne Decroux, a distinguished forerunner in the art, they have taken it upon themselves to explore new locomotive possibilities within an emotional context. "Mirage" featured nine pieces, all distinctly differ ent from one another, but all bound together by their investigations into a new theatre of movement. The program opened with "Heads," a crowd-pleas er based on a Victorian love duet that followed a pair of courting lovebirds through their human paces. Well, maybe not so human. But humanoid. The They took a chance, but couldn't dance By MARC WATREL Collegian Staff Writer Dance is a form of expression, a very beautiful form of expression if exe cuted correctly; but what constitutes. dance? Basically, it's , nothing more than movement to music, or movement to a certain rhythm, that conveys some theme or emotion. Of all the artistic mediums, dance seems to allow for more innovation; it's a medium where constant chang ing styles and techniques are a norm. It's a very personal art form and what appeals to some people might not ap peal to others. The Central Pennsylvania Dance Theatre opened its season with perfor mances at Gatsby's this weekend. But in an attempt to create its own style and possibly make a name for itself, it succeeded in doing neither. The most obvious of the company's problems was the lack of competent choreography. Most notable were cho reographer Larue Allen's "Tuxedo Junction" and "Cuba Libre." Both dances were formless and were quite frankly, boring. The choreography was wispy and frothy where it should have been jazzy and upbeat in Glenn 'Twisted Kicks' a new look at our own Wall? "Twisted Kicks," by Tom Carson, Entwhistle Books, Glen Ellen, CA, 259 pages, $12.95. By STUART AUSTIN Collegian Staff Writer And there's even some evil moth ers/ Tell yoU life is full of dirt . . ." Lou Reed, "Sweet Jane" Dirty, dirty, dirty. You know, all that sex, drugs and rock 'n' roll. You know, man, all the '7os burn-out kids. All the kids our age who have been nowhere and are going nowhere fast; boredom, insignificance, frustration. That's what "Twisted Kicks" is all about. The wasters. Tom Carson, a writer for Village Voice and Rolling Stone, the forefront rags of pop culture, has done us the favor of distilling the dregs of our decade into 259 pages of angst, punk, smack and nicotine. The effect is like listening to Bram Tschicovski play "Captain Jack" over and over and over . . . Set in Icarus (a.k.a. McLean) Vir ginia, the novel is, according to the back cover, "about a punk rock singer who gets in trouble in New York and goes back home and finds out what happened to everyone else." An anal ogy to the warning on cigarette packs, perhaps. Is it about the singer or is it about everyone else? I couldn't tell. Perhaps the novel's lack of focus is a metaphor for the focuslessness of the generation in question. If not, it seems to be a major flaw; what's the point to a collection of characters who have been created on a page by a calculat ing, omniscient author? Carson's style shows space for im provement. Even assuming he's doing everything purposely, some things just don't stand up. Some cold-blood ed, experienced editing would be a big help. Certainly, he wants to capture the essence of rock 'n' roll culture he doesn't want to lose its lingo and mannerisms. Fine. But the real meat gets lost. Carsodhas a gqod image or a catchy phrase floating about on pages of unnecessary filler, things twosome made it known to one another that each was alone and available. Yet both the man and the woaman had alter egos cramping their style, for they had accordian-like necks that extended their heads up to a foot in front of them at less than opportune times. A surreal situation, yes. But cleverly executed by crisp, staccato movement. The group performed "Ivy" (an invigorating exer cise reminiscent of Pilobolus) flawlessly. It was a brilliant piece that called for unusual balance, strength nd grace. Moving to a high-energy, blud geoning beat, the comapany created a human ma chine of sorts, each dancer fulfilling his duty as a cog, integral to the machine's efficiency. They literally held on to a life rope that supported all three of them. Throughout the program, the group's suppleness and agility was absolutely amazing. But even more fascinating were the abstract and not infrequently symbolic themes. "Traveling," performed to a haunting "Music for Zen Meditation," was one such complex piece rich in suggestion. A man dressed in white entered stage left pulling a long white rope. At the end of the rope sat a • delicate woman, also draped in white, who was seemingly afloat in the air, balancing and undulating under the lustrous moonlight. She enacted a languid private ritual of veiling (covering her face with her long white hair), opening and resisting. The man Miller's "Tuxedo Junction," and the Spanish tones of "Cuba Libre" were never fully utilized. Choreographer Kathy Short managed to create an interesting dance, "Benzaiten," but the image she was trying to convey was apparently beyond the compre hension of the dancers; they seemed lost in interpreting her choreography. A bright spot in this rather dull evening was a work by New York choreographer Hannah Kahn titled, "Aviary Pulse." It was an enjoyable interpretation of birds in their natural habitat. Furthermore, it gave the audi ence a chance to see what the company was capable of doing. Another redeeming factor was danc er Jennifer Sproul. Her dancing was precise, even if it did suffer from the choreography. Her solo in "Cuba Libre" was an interesting seduction, and in ."Aviary Pulse," she, of the three dancers, seemed to understand what the choreographer meant and managed to steal the dance. Her in sightful interpretation seem to indi cate that this dancer is going someplace. The entire program suffered from a lack of polish. Company dances were which the reader could fill in himself. Places we've been before, things we've seen; we don't need so many words to tell us so. Without them, the novel would be more spontaneous, more jagged, more forceful, more like rock music. Certainly some sort of organization or foc'us .to keep the reader moving through the book would help. First, it's about Lang, the would-be rocker who shoots a junkie and flees New York. He returns to Icarus just after the suicide of Erica, mutual friend-in rock. But Erica went with Richard, so let's look at him. But Erica was a year behind them in high school, like Odell. So let's look at Odell. And of course the mellow Carmel is always there, supplying drugs for everyone. So Carson has this bunch of screwed-up kids which, and this is perhaps the biggest drawback to the novel, he has created to serve his own needs. Sure, they're shallow people, they think their every utterance is the vanguard of Truth and their own life is the one that really counts. They remind me of some of the people who hang out on The Wall, only taken to an extreme. But these people are all children of the same god Carson. Their dialogue is too similar, fits together too well. Certainly as the book gets near the end, the pace picks up, things come into focus, things become interesting. Why, then, even have the beginning? At least condense it so we can get to the good stuff. Ah, you're saying, it's easy for me to sit and pontificate post facto. But I do recognize certain re sponsibilities of being a fiction writer, some of which Carson has let slide to his disadvantage. Good material, good insights, just some style prob lems which should have been ironed out before publication. Probably those Wall-hangers will identify with "Twisted Kicks" the story of the brutal fight to be on top of an ever-sagging hill. If you're heavily into a career in the business world, skip it. If you're a fiction writer the market's wide open. not uniform, dancers were watching other dancers to get cues and en trances seemed unprepared. And these elements are vital to a professional performance. Technique and style varies from company to company and occasionally one comes across a company that 1_ • - •C CL 0 'Mirage' of movement continued to pull her along, though each tug became more and more strenuous. ' Finally, he put his end of the rope down and removed an illusionary needle from his pocket. He tiptoed over to the woman and pricked her billowing body as determinedly as a 6-year-old would pop a balloon at a birthday party. The man walked hesi tantly away from the scene while the woman fell over to the floor and shriveled away to nothing. After pondering the detrimental effect of his action, he sauntered over to her and began to reinflate her listless body. He started towing the line once again, but the woman was now pulling him back. He slid further toward the wings, the woman already off stage. When a newfound sense of strength finally overcame him, he hauled the rope back onto stage. But, oddly enough, he was pulling nothing the woman was nowhere to be found. "Arms" was a testimonial to the interdependence between two performers. A concept of physical action became inseparable from a visual image as the two men flailed their arms up, down and all around with split-second timing and a dramatic tension that built to a powerful crescendo. The Paul Gaulin Company has helped prove to the modern day theatre-goer that mime can be thought ful and artistically complex, while remaining unpre tentious and entertaining. offers something truly original and innovative; the Pennsylvania Dance Theatre is a relatively new company that seems to be striving for too much. Its first priority should be to tighten itself up and seek a level of profession alism that will serve as a building block for creativity. ....................... Pattee print display fine spring welcome By PHILIP LEO Collegian Staff Writer Beginning tomorrow and continuing through April 8, selected prints from the collection of Pattee Arts Library will be on display in Pattee's East Corridor Gallery. The library's acquisition of prints began in the 1920 s and continued until the building of the Museum of Art in 1972. The prints from the '2os were pur chased with the aid of the Carnegie Corporation and included two wood cuts from 15th-century Bibles and a little known lithograph by James Mc- Neill Whistler. However, the majority of the prints are by mid-20th century American artists. These include prints pur chased through the Works Progress Administration during the depression. Under this program the Administra tion paid the artists a weekly subsis tence salary of $23. The works were done by well-qualified artists and were available to all public institu tions for the cost of materials and framing about $2 apiece. More than 200 prints came to the The Daily Collegian Monday, Mar. 15 library in the 'sos from the Society! of American Graphic Artists. The emi nent wood. engraver Lynn Ward was persuaded by University. trustee Charles Douds to have each member of . the Society donate a print for a memorial collection for Professor Warren Mack, horticulturalist and wood engraver at the University. Pro fessor Francis E. Hyslop, who taught a course on the history of prints and drawing at the University during this period, writes that this collection was the most extraordinary addition to the library's collection. More recently prints have been pur chased to represent innovative tech niques of printmaking in addition to the traditional methods of etching, engraving and lithography. This show offers an opportunity to view the University's fine collection of prints and to trace the growth of the collection through the middle of this decade. A file listing of all the prints in the University's collection may be consulted at the at the desk in the Arts Library. Classes or individuals may examine the prints in the Print Room by arrangement with the librarian in charge. Photo by Karen Solat AW*A*S*H': is finally INTERESTED IN INTERCOLLEGIATE SAILING? SAILING TEAM Meeting tonight 7:30 Sailors and non sailors welcome Spring regatta schedule includes ANNAPOLIS WESTPOINT KINGSPOINT Spring Club activities will also be discussed Viear ) 1 e 1 e. Vele , it i tit : o t CoVitixt • • College . 126 238 5590 Opest 24 1-loos -- Days a "SN' 11: loos— rnouth-NNaterAng, trhrncnyade ‘lled pastfV \l\laffrl'ing ' iact, so --nnus at the diner, In testaufants CONTACT. LE SES SOFT $9B HARD $65 INCLUDES: • EXAMINATION • CONTACT LENSES • ACCESSORIES • 50% - 60-DAY SATISFACTION WARRANTY DR. ANDREW BLENDER OPTOMETRIST 242 Calder Way 234-1515 the finished However, tie unofficial word is that both the network and the studio expect an 11th season although it will not be a full season of new shows. LOS ANGELES (AP) Hawkeye Pierce, who's been The season may be short but "M -A-S-H" is going to complainingabout the .Korean War on the CBS series wind up with a bang. "M -A-S-H" for 10 years now, finally is going to get to go In the final two hours of original episodes, the war will home By JERRY BUCK AP Television Writer Pierce played by Alan Alda along with 8.J., Hot H" gang will head for home. Their departure may come Lips, Klinger and all the other denizens of the 4077th in a two-hour movie-of-the-week, or it may be in a four- Mobile Army Surgical Hospital, will take off for the part series. That decision has not been made yet by States in the early part of next year. _ CBS. war The Korean War finally is over on CBS, and so is one Six episodes that 'already have been filmed will be of the most beloved and most honored television series held until next fall, it was learned. Nine more half-hour of all time. "M -A-S-H" will call it quits during its 11th installments will be filmed, plus the final two hours. season It's all unofficial as yet. Neither CBS nor 20th Cen- "M -A-S-H" was based initially on Robert Altman's tury-Fox Television will talk much about it. The reason hot motion picture, itself taken from the book by Robert is that none of the actors Alda, Mike Farrell, Loretta Hooker, a pseudonym for a former MASH doctor named Swit, David Ogden Stiers, Harry Morgan, Jamie Farr, H. Richard Hornberger. Larry Gelbart adapted the William Christopher have signed new contracts with story for television, and it went on the air on Sept. 17, 20th Century-Fox. 1972. 214 Boucke TWO HEAVY HITTERS TOUCH BASES ON BATS, BALLS, BEER. BOOG POWELL (Former American Baseball Great): Koichi here has been giving me a new angle on baseball. It seems the game's a little different in Japan. KOICHI NUMAZAWA (Former Japanese Baseball Great): , f§ l l A. a 7 4 IL , Vffil‘rb "Ct . ta, BOOG: That's right. The field is ~~ ~~ ~~M i..,~ i/ ... - .. end (30 years after the original) and the whole "M -A-S smaller over there. KOICHI: 9 , i - ij% 6f) El *A 0%4 lz*,#)-tflz - rt cto BOOT: Well, now that you men tioned it, I guess you guys are kinda smaller. Does that mean you drink Lite Beer 'cause it's less filling? KOICHI: t3O 1 ob`cDOX't Al T't cto , • . \ ~ ~ ♦ \~ ~ l .. \~ So *l 4l, le "li '•1/ E'ER FROM IG YOU AIN BEER. AND The Daily Collegian Monday, March 15, 1982-21 Alda quickly emerged as the star and one of the creative forces behind "M -A-S-H." His co-star, Wayne Rogers, who played Trapper John, left in 1975. Alda has written and directed many of the episodes, and also is listed as a creative consultant. Stevenson left the same year as Rogers, and the two actors were replaced by Mike Farrell and Harry Mor gan. Larry Linville, who was the thick-skulled Maj. Frank Burns, left in 1977, and ever-faithful Walter "Radar" O'Reilley, played by Gary Burghoff, quit In 1979. . The show underwent many changes over the years, most notably the metamorphasis of Maj. Margaret "Hot Lips" Houlihan. She began as a woman of loose morals and tight embraces with Frank Burns. After Linville's departure she was married, divorced and was transformed from an outsider to a member of the gang. Jamie Farr's Cpl. Max Klinger still wants a Section Eight, but he no longer prances around in women's clothing, hoping to convince somebody he's nuts. BOOG: Tastes great? That's why drink it, too! I guess we have a lot more in common than I thought. KOICHI: 016. ! L . " . 5 lEl* -d-Adb•c, BOOG: Me? I'm too big to play on a Japanese team. KOICIII: th,td td: 'CT , BOOG: Shortstop?! Very funny. er Brewed by,Miller Brewing Co., Milwaukee, WiE
Significant historical Pennsylvania newspapers