04-29-1964

OPE COLLEGE

Special Issue: FINE ARTS FESTIVAL April 29, 1964

anc or

OLLAND, MICHIGAN

2£ccci3C£ Wednesday, April 29, 1964

Hope College, Holland, Michigan

76th Year—28

ARK FESTIVAL OPENS Pianist Roy Hamlin Johnson To Conclude Festival Sunday Guest pianist Roy Hamlin Johnson. associate professor of piano at the University of Kansas and noted p e r f o r m e r and composer, will present a recital in Dimnent Memorial Chapel on Sunday at 4 p.m.

The recital will c o n c e d e the activities of the Hope College Fine Arts Festival.

Johnson, who h a s m a d e two previous a p p e a r a n c e s on the Hope campus, has chosen for his recital " T o c c a ' a in C M a j o r " by BachBu c oni, Mozart's "Rhondo in A Minor.' "Sonata No. 2" by the

ROY HAMLIN JOHNSON

c o n t e m p o r a r y composer J o h n Pozdro, and Chopin's "Twelve E t u d e s . " The t h r e e - m o v e m e n t s o n a t a by Pozdro was composed l a s t year for Johnson and e m p ^ y s a wealth of piano t e x t u r e s while maintaining a continuity of stylistic viewpoint.

The Chop'n e t u d e s a r e an a r r a y of 12 contrasted pieces unified by a developing technical dexterity and poetic u t t e r a n c e .

Johnson, a n a t i v e of West Virginia, received his Bachelor, Mast e r s and Doctor of Music d e g r e e s f r o m E a s t m a n School of Music.

In 1952 he held a F u l b r i g h t a w a r d for the study of piano with Yves Nat of the P a r i s c o n s e r v a t o r y .

In 1953 he b e c a m e official pianist of the Rochester P h i l h a r m o n i c O r c h e s t r a under Erich Leinsdorf and in 1954 joined the f a c u l t y of the University of Kansas.

Johnson m a d e his New York debut in 1959, his Washington. D.C. debut in 1961 and h a s a p p e a r e d as soloist with m a n y other orchest r a s including the Dallas Symphony and the Rochester Philharmonic.

As a composer. Johnson is winning w i d e recognition for h i s "Oboe Concerto" and through recordings of his carillon compositions " T e D e u m L a u d a m u s " and " S u m m e r Fanfares."

Sunday's recital is open to the public. Admission is complimentary.

E. lonesco's 'Rhinoceros' Questions Sanity of Man " R h i n o c e r o s " is one of E u g e n e lonesco's latest plays. The first English p e r f o r m a n c e , given a y e a r a f t e r t h e P a r i s debut, s u r p r i s e d London audiences considerably.

First of all, the i n t e r p r e t a t i o n of Sir L a u r e n c e Olivier and Orson Wells w a s s t r a n g e l y " u n F r e n c h . " Secondly, "Rhinoceros" was s t r a n g e l y " u n l o n e s c o . " F o r example, those who a r e f a m i l i a r with plays like "The Bald S o p r a n o " (seen on this c a m p u s last year> will be inclined to class "Rhinoce r o s " in the " t h e a t r e of i d e a s " and as " t h e s i s - d r a m a " r a t h e r than the e x p e c t e d " t h e a t r e of t h e absurd."

Indeed, critics h a v e asked, "Aft e r 'Rhinoceros,' where goes lone s c o ? " F o r this play is concerned mainly with a problem, the upholding of sanity and rationality in an insane and irrational world. One is inclined to think, on the other hand, f r o m lonesco's other d r a m a s that " s a n i t y " and " r a t i o n a l i t y " a r e a r c h a i c t e r m s in our p r e s e n t society.

In t r e a t m e n t , however, lonesco g e n e r a l l y falls back on his familiar t h e a t r e of spectacle. Hence, B e r a n g e r , the only supposedly " s a n e " m a n in the play, g r a d u a l l y finds himself being s u r r o u n d e d by people who p r e f e r being rhinoceroses to being people. In their logic, of course, since b e c o m i n g a rhinoceros is w h a t t h e b e s t people a r e doing, t h e only sensible thing to do is become rhinoceroses.

F r o m t h e point to their collective decision, rhinoceroses fill t h e s t a g e , t r a n s o m s a n d o r c h e s t r a pit

w h e r e people w e r e and B e r a n g e r is left to c o n t e m p l a t e h i s own individual h u m a n i t y . " R h i n o c e r o s " is a v e r y timely play as well as a very unusual play. T h e play o f f e r s us a fitting introduction to contemporary which is highly i m a g i n a t i v e and c r e a t i v e as well as thoughtful, purposeful and p r o v o c a t i v e , " according to 'Dr. E d w a r d S a v a g e , c h a i r m a n of the F i n e Arts Festival activities.

1

JV

'SOLDIER'S TALE' — Dr. Edward Savage director, and assistant Carole Timkovich watch Mabel Seaman, Mrc. Dorothy DeLong (instructor). Bill Brauer and Bill Cathcart rehearse one of the dances to be presented as part of Stravinsky's "Tale" Friday and Saturday.

F e s t i v a l To I n c l u d e T a l e

by Dr. Edward Savage Fine Arts Festival

Chairman

S t r a v i n s k y ' s " T h e Soldier's T a l e " is, in a sense, r e l a t e d to his "Cant a t a for T e n o r , Soprano and Wom e n ' s Voices" in t h a t both works a r e based upon medieval motifs, the first upon a c o n g l o m e r a t e of Russian, G e r m a n and F r e n c h folk motifs and the second upon medieval religious poetry.

In his directions for the piroduction of " T h e Soldier's T a l e , " however, Stravinsky definitely a i m s at universality in t i m e as well as in place. Hence, though the s t o r y is based upon the s t r u g g l e s of a medieval soldier with t h e iDevil over the possession of his soul, the soldier himself w e a r s a m o d e r n sold i e r ' s u n i f o r m and Stravinsky's music, in m a n y places at least, is d e r i v a t i v e of m o d e r n A m e r i c a n jazz motifs.

T h e Devil, too, though his final

a p p e a r a n c e is in the traditional fiery red g a r b of Mephistopheles, is c o m p a r a t i v e l y c o n t e m p o r a r y , a p p e a r i n g first as an e a r l y twentieth century lepidopterist <a butterfly f a n c i e r ) , then as an American w h e e l e r - d e a l e r , then as an old-clothes woman and second to last as a virtuoso violinist.

Though Stravinsky h a s stressed c o n t e m p o r a n ^ f y in hi5 c h a r a c t ers, his p r e f e r r e d m a n n e r of presentation r e t u r n s to t h e Middle Ages in the d r a m a t i c form of w h a t he calls the " t h e a t r e a m b u l a n t , " best described as the t r a v e l i n g t h e a t r e or a theatrical p e r f o r m ance executed on "two b a r r e l s and a b o a r d , " so to speak. He specifically calls for a s m a l l inner s t a g e on which simple scenes a r e painted or flashed, the m a j o r i t y of the action h a p p e n i n g on an apron s t a g e or, in the tradition of the Middle Ages, the surrounding m a r k e t p l a c e .

P e r h a p s the closest t h e a t r i c a l f o r m s which a r e c u r r e n t l y popul a r today to this type of t h e a t r e would be embodied in the p u p p e t stage, the circus, or t h e well known gyrations of the " c a r n e y " and his travelling troupe.

Indeed, Stravinsky s e e m s to h a v e p u r p o s e l y intended this association of the " c a r n e y " with his play by the inclusion of a n a r r a t o r who actually controls the action as well as t h e attitudes of the c h a r a c t e r s . Hence, it is t h e n a r r a t o r who puts it into the mind of the soldier to f r e e himself f r o m the Devil's power by losing to the Devil at c a r d s , for the Devil in his n a t u r e , m u s t t a k e and take, and t h e soldier cannot r e g a i n his original integrity until he rids himself of the ill-gotten gains h e has gotten through the power given to him by the Devil.

or m o r a l t a l e . " T h e Soldier's T a l e , " is, we feel, of all the offerings of the Fine Arts Festival at Hope College this y e a r , the most r e p r e s e n t a t i v e of an a m a l g a m a t i o n of the a r t s . F i r s t of all, it is a "spe.iking o p e r a , " involving actors (as opposed to s i n g e r s ) , musicians, artists and dancers.

Again, p e r h a p s m o r e t h a n any other of the productions, we h a v e d r a w n upon the " t o t a l c o m m u n i t y " of Hope College and Holland: the conductor (Mr. R o b e r t Cecil) and the m u s i c i a n s a r e of the Hope College Music D e p a r t m e n t ; the director (Dr. E d w a r d Savage) is a m e m b e r of the (English Departm e n t ; the a c t o r s (William B r a u e r as the soldier, William C a t h c a r t as the Devil and Mabel S e a m a n as the princess) a r e students of history and English; the n a r r a t o r (Mr. J a m e s Malcolm) is an ins t r u c t o r in the Speech Departm e n t ; the s e t s w e r e designed by Mr. Stanley H a r r i n g t o n of t h e Art D e p a r t m e n t ; the c h o r e o g r a p h e r is M r s . Dorothy DeLong, who directs her own d a n c e studio in Holland; the c o s t u m e s h a v e been executed

by M e s d a m e s Heine, Cecil and Hollenbach; the lighting by Donald Kardux, a s t u d e n t in t h e a t r e .

Obviously, this h a s b e e n a " t h e a t r e a m b u l a n t " in m o r e t h a n one sense. We hope t h a t you a r e both c h a r i t a b l e and a m u s e d at this crazy-quilt of e n d e a v o r .

Festival Attendance

Tickets at

most

of

the

events of the Fine Arts Festival requires

tickets,

which,

how-

ever, are free.

Nonetheless, if there are seats available prior to curtain time,

'RHINOCEROS' — Two members of the MSU (Performing Arts Company practice the characterizations ihej will present tomorrow.

In the theme itself, then, we see a universal problem (the struggle of good and evil) as well as the medieval fascination with the morality play and the "exemplum"

students will be able to attend even if they have not previously reserved seats.

i Page 2

Hope College anchor

Wednesday, April 29. 1964

Contemporary Art Exhibited

by Mr. J a m e s Loveless (Editor's note: In the following article Mr. James Loveless, chairman of the Fine Arts Festival Art Committee, gives his views on the contemporary art exhibits now on show.)

s t a g e for their symposimn, t h e r e is on display some e x a m p l e s of work done by these visiting artists in the Van Zoeren Library.

I expect that w e will hear a wide r a n g e of ideas and opinions expressed. This is partially reflected in their work, although the nature or extent of this r a n g e can not be d e t e r m i n e d by the work alone.

For those of you who h a v e seen or will see the two a r t exhibits now on display in the Van Zoeren L i b r a r y and in the h o m e of Dr. and Mrs. VanderfWerf, I w a n t to w r i t e a f u r t h e r word. The rationale behind this a r t p r o g r a m grew out of a desire to focus on the significant art being produced today. All of the a r t i s t s exhibiting enjoy a c o n s i d e r a b l e a m o u n t of professional success which is borne out by their e x t e n s i v e exhibition records and by their respected reputations in the professional a r t world.

1964 OPUS — Cover photo by John Killmaster

'64 Opus Features Works Of 26 Writers and Artists A dark green sunflower droops on the c nnamon-colored cover of the 1954 Opus, to be issued f r e e to students on F r i d a y . Appearing as part of the Fine A r ' s Festival this weekend. Opus. Hope's fine a r t s magazine will f e a t u r e the works of twen 4 y-six c a m p u s poets, painters, sculptors and photographers.

"Opus 64," a p r o g r a m of readings from Opus by the contributors, will s e r v e as an "unveiling" of the new issue at 1:00 p.m. Friday at Kollen P a r k . Following the dismissal of classes at 12:20 p.m. and a picn c lunch at Kollen P a r k from 12:00 to 1:00 p.m., r e a d e r s will present ten selec'ions f r o m the new issue in the ibandshell at Kollen P a r k .

P o e t r y occupies the most s p a c e in the 52-page issue and f e a t u r e s several poems on the death of John Kennedy, a n u m b e r on light or whimsical subjects, children's poetry, a s m a t t e r n g of haiku's, along with a balancing proportion of serious poetry.

The fact that only one piece of music was submitted to Opus this year accounts for the absence of a music section in the issue. Instead. ten photographs by students have been included to recognize another aspect of a r t .

Opus, first published in 1954, app e a r s once or twice each y e a r , depending on the a m o u n t of qualified m a t e r i a l submitted by students. About one-fourth of the entries will a p p e a r in the 1964 issue; the board r e t u r n s all m a t e r ial with their suggestions if desired.

The s e v e n - m e m b e r board, selected in the fall, functions throughout the y e a r to scout good m a t e r i a l and encourage writers. This y e a r ' s board includes Linda Walvoord. editor: Alan Jones, associate m e m ber, Don Kardux, Susan Spring, Kathleen Verdu n. Robert Werge and Ruth Y z e n b a a r d .

For those who do not attend t h e 1:00 p.m. readings. Opus will be available in front of Van R a a l t e all afternoon on F r i d a y . The center-fold insert of the issue is t h e complete p r o g r a m of events for the Fine Arts Festival.

The exhibition in the home of Dr. and Mrs. VanderWerf c o m e s f r o m the Allan F r u m k i n Gallery in Chicago. This was a s s e m b l e d to offer the interested viewer a n extended variety of paintings and works of s c u l p t u r e by artists internationally known and respected.

It is hoped t h a t this will serve as a p r o v o c a t i v e encounter both to the audience and to the panel m e m b e r s who will ibe speaking Saturday.

J u s t as i m p o r t a n t as this, howe v e r . is the diversity of personal artistic expressions t h a t c a n be viewed. It b e c o m e s a p p a r e n t in viewing these exhibits t h a t a single s t a n d a r d of excellence or a restricted level of expectation is i n a d e q u a t e in a p p r e h e n d i n g these works of a r t . While this diversity can at first be u n f a m i l i a r and confusing, it is n e v e r t h e l e s s characteristic of the a r t produced in a d e m o c r a t i c society today.

Those responsible for a r r a n g i n g the a r t p r o g r a m felt that it would be helpful in u n d e r s t a n d i n g the a r t of our own t i m e to invite t h r e e professional a r t i s t s to the c a m p u s to s h a r e their views. To set t h e

The Fine A r t s F e s t i v a l Committee hopes t h a t this a r t p r o g r a m will help c l a r i f y just what indeed does constitute the a r t of our t i m e and p e r h a p s distinguish it f r o m the countless other products of h u m a n e n d e a v o r which mistakenly s h a r e its label.

Since the panel which will speak on c o n t e m p o r a r y a r t on Saturday m o r n i n g consists of a r t i s t s who a r e also t e a c h e r s , I thought that it would be a p p r o p r i a t e to s t a r t with a question which might well be a concern of education: In a society

by Mr. Robert Cecil (Editor's note: Chairman of the Music

Committee

for

the

Fine

Festival, Mr. Robert Cecil, here discusses

the

All-Stravinsky pro-

gram which will be presented Friday and Saturday evenings.)

The choice of Igor Stravinsky for a Fine Arts Festival is a n a t u r a l one. Throughout his long c a r e e r he has often changed his style a n d yet he has always been stylish. " T h e Rite of Spring" which c r e a t ed such a stir in 1913 is now v e r y popular with the g e n e r a l public, while his newest works a r e g r e a t ly a d m i r e d by the most progressive composers.

as Mrs. DeLong. our choreographer. from the c o m m u n i t y .

(Editor's note: Mr. David Kar sten discusses the selection of student dramatic works for the Fine Arts Festival.)

It is an imaginative and sophisticated work: the music h a s h u m o r and a wonderful r h y t h m i c drive r n d the Russian folk t a l e that it tells has universal appeal. " T h e Soldier's T a l e " f u s e s music, poetry and the d^nce to p r o v i d e what we hope will be a w o n d e r f u l evening of t h e a t r e .

When confronted with the idea of a Fine Arts Festival and what should be included as the t h e a t r e portion, two intrinsic factors of the t h e a t r e p r o g r a m at Hope College formed the basis for selection: the first being a r a t h e r practical consideration of training for students in direction s e m i n a r s , t h e second, the allowing of students to

The two compositions which M r . ' Kooiker and I h a v e chosen complement e a c h other and offer a g r e a t contrast in style. " T h e Cant a t a for Soprano, Tenor and F e male C h o r u s " was written in 1952.

It is a setting of a group of m e d ieval English poems and, while very d e m a n d i n g of the soloists, it is a beautiful, lyric piece. " T h e Soldier's T a l e , " composed in 1917, is t a i l o r - m a d e for us. T h e staging is quite simple and it requires a m i n i m u m of props. I am also pleased t h a t it has involved not only the music d e p a r t ment but s t u d e n t s and faculty from other d e p a r t m e n t s , as well

Sculpture

by

Carol

Harrison

Students Display Creativity In Theatre During Festival

Igor Stravinsky's 'Soldier's Tale,' 'Cantata' Offer Contrasts in Style

which defines as being v a l u a b l e those goods and services which r e s u l t in a negotiable produce, is t h e r e any reason for m e m b e r s of t h a t society to seriously consider t h e efforts of the plastic artist?

MASQUES AND FACES — P e g g y Welmers, John Melichar, Jan Blom, Ruth De Boer, Sue Radliff and Don Kardux will participate.

h a v e their creative efforts produced. so that they might l e a r n f r o m this very production.

Uppermost in all considerations was. of course, the essential idea t h a t any Fine Arts Festival of any college should c e n t e r on the creative efforts of the s t u d e n t s in the a r t s and thus elicit f r o m the audience an a w a r e n e s s of c r e a t i v e activity of the students involved in this p a r t i c u l a r a r t of t h e a t r e .

It was felt that we need not rely on outside talent in the selection, but that there was enough vital, c r e a t i v e talent within our own environs to provide such a p r o g r a m of t h e a t r e . And it was f r o m this basic premise that we proceeded.

F r o m here, additions w e r e m a d e in the selection of individual perf o r m a n c e s to add to t h e p r o g r a m which would be interesting, ins t r u c t i v e in s o m e cases, as well as giving again, the opportunity for individual expression of talent.

Whether or not the direction by s t u d e n t s is " p r o f e s s i o n a l , " whethe r or not the plays produced a r e " g r e a t d r a m a , " whether or not the i n d i v i d u a l performances are " g r e a t , " is i m m a t e r i a l in a sense.

That they should be well done is, n a t u r a l l y , of concern. But the ult i m a t e goal is tiiat the s t u d e n t s h a v e had the opportunity to exp r e s s themselves, to see their work produced in f r o n t of an audience and from this opportunity not only to learn and grow, but to provide an a w a r e n e s s of the vitality of the t h e a t r e at our college.

FINE ARTS FESTIVAL-19(4 April 2 0 — May 4

Thursday, April 3 0

Saturday, May 2

Art Exhibit Van Zoeren Library Sculpture, Painting, Prints

lonesco's RHINOCEROS Performing Arts Company Michigan State University Holland High Auditorium Matinee: 3:00 p.m.

Evening: 8:15 p.m.

Winant's Chapel - 3:00 p.m.

Symposium of Contemporary American Art

April 2 0 — May 8 Exhibit of Contemporary Paintings The President's Home Sunday: 2:00 — 5:00 p.m.

Weekdays: (except Saturday) 2:00 — 5:00 p.m.

7:30 — 9:00 p.m.

Friday, M a y 1 Snow Auditorium — 8:00 p.m.

All-Stravinsky Program I. CANTATA FOR WOMEN'S CHORUS II. THE SOLDIER'S TALE

Hope College Little Theatre — 8:00 p.m.

MASQUES AND FACES: PART II (repeat performance) Snow Auditorium — 8:00 p.m.

All-Stravinsky Program (repeat performance) Sunday, M a y 3

Wednesday, April 2 9 Hope College Little Theatre — 8:00 p.m.

MASQUES AND FACES: PART II Original one-act plays Solo Performances Student-Directed One-acts

Hope College Little Theatre — 8:00 p.m.

MASQUES AND FACES: PART I (r«Deat performance) Kollen Pork — 1:00 p.m.

Opus 64 Program of Readings from Opus

Dimnent Chapel — 4:00 p.m.

Roy Johnson Pianist For tickets to all events call Coll^qe Theatre, EX 6-4616 or make reservations at the ticket desk in the Kletz lobby, Van Raalte Hall.