2 £ c c c i 3 C £

OPE COLLEGE

Special Issue:

FINE ARTS FESTIVAL

April 29, 1964 anc 76th Year—28 Hope College, Holland, Michigan

or OLLAND, MICHIGAN

Wednesday, April 29, 1964

ARK FESTIVAL OPENS Pianist Roy Hamlin Johnson

To Conclude Festival Sunday Guest pianist Roy Hamlin John-

son. associate professor of piano at the University of Kansas and noted pe r fo rmer and composer, will pre-sent a recital in Dimnent Memor-ial Chapel on Sunday at 4 p.m. The recital will c o n c e d e the ac-tivities of the Hope College Fine Arts Festival.

Johnson, who has m a d e two previous appearances on the Hope campus, has chosen for his reci-tal "Tocca ' a in C Ma jo r " by Bach-Buconi, Mozart 's "Rhondo in A Minor. ' "Sonata No. 2" by the

ROY HAMLIN JOHNSON

contemporary composer John Poz-dro, and Chopin's "Twelve E tudes . "

The three-movement sonata by Pozdro was composed las t year for Johnson and e m p ^ y s a wealth of piano textures while maintain-ing a continuity of stylistic view-point.

The Chop'n e tudes a re an a r r a y of 12 contrasted pieces unified by a developing technical dexteri ty and poetic u t terance .

Johnson, a nat ive of West Virgi-nia, received his Bachelor, Mas-ters and Doctor of Music degrees f rom E a s t m a n School of Music. In 1952 he held a Fulbr ight award for the study of piano with Yves Nat of the Pa r i s conservatory.

In 1953 he became official pia-nist of the Rochester Phi lharmonic Orchestra under Erich Leinsdorf and in 1954 joined the facul ty of the University of Kansas.

Johnson m a d e his New York debut in 1959, his Washington. D.C. debut in 1961 and has appeared as soloist with m a n y other orches-t ras including the Dallas Sym-phony and the Rochester Philhar-monic.

As a composer. Johnson is win-ning wide recognition for his "Oboe Concerto" and through recordings of his carillon compositions "Te Deum L a u d a m u s " and " S u m m e r F a n f a r e s . "

Sunday's recital is open to the public. Admission is complimen-tary.

JV1

'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.

Fest iva l To I n c l u d e Ta le

E. lonesco's 'Rhinoceros' Questions Sanity of Man

"Rhinoceros" is one of E u g e n e lonesco's latest plays. The first English pe r fo rmance , given a yea r a f te r the Par is debut, surpr ised London audiences considerably.

First of all, the in terpre ta t ion of Sir L a u r e n c e Olivier and Orson Wells was s t rangely " u n F r e n c h . " Secondly, "Rhinoceros" w a s s t rangely "unlonesco." F o r ex-ample, those who a r e famil iar with plays like "The Bald Soprano" (seen on this campus last year> will be inclined to class "Rhinoc-e ros" in the " thea t r e of i d e a s " and as " thes i s -d rama" r a the r than the expected " thea t re of the ab-su rd . "

Indeed, critics have asked, "Af-ter 'Rhinoceros, ' where goes lon-esco?" For this play is concerned mainly with a problem, the uphold-ing of sanity and rat ionali ty in an insane and irrational world. One is inclined to think, on the other hand, f rom lonesco's other d r a m a s that " s a n i t y " and " ra t iona l i ty" a r e archaic te rms in our p re sen t society.

In t rea tment , however, lonesco genera l ly falls back on his famil-iar t hea t r e of spectacle. Hence, Beranger , the only supposedly " s a n e " man in the play, gradual ly finds himself being sur rounded by people who p re fe r being rhinoc-eroses to being people. In their logic, of course, since becoming a rhinoceros is wha t the best people a r e doing, the only sensible thing to do is become rhinoceroses.

From the point to their collective decision, rhinoceroses fill the

s tage , t r ansoms and orchest ra pit

where people w e r e and Beranger is left to contempla te his own individual humani ty .

"Rhinoceros" is a very timely play as well as a very unusual play. The play offers us a fitting introduction to contemporary which is highly imaginat ive and creat ive as well as thoughtful , purposeful and provocat ive ," ac-cording to 'Dr. Edward Savage, cha i rman of the Fine Arts Fest ival activit ies.

by Dr. Edward Savage

Fine Arts Festival Chairman

Stravinsky 's "The Soldier's T a l e " is, in a sense, re la ted to his "Can-ta ta for Tenor , Soprano and Wo-men ' s Voices" in tha t both works are based upon medieval motifs , the first upon a conglomerate of Russian, German and French folk motifs and the second upon medi-eval religious poetry.

In his direct ions for the piroduc-tion of " T h e Soldier ' s Tale ," how-ever, Stravinsky definitely a ims at universali ty in t ime as well as in place. Hence, though the s tory is based upon the s t ruggles of a medi-eval soldier with the iDevil over the possession of his soul, the sol-dier himself wears a modern sol-dier ' s uniform and Stravinsky 's music, in many places at least , is der ivat ive of modern American jazz motifs.

The Devil, too, though his f inal

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

appearance is in the t radi t ional fiery red ga rb of Mephistopheles, is compara t ive ly contemporary , appear ing first as an ear ly twent-ieth century lepidopterist <a but-terf ly fancier) , then as an Ameri-can wheeler-dealer , then as an old-clothes woman and second to last as a virtuoso violinist.

Though Stravinsky h a s s tressed c o n t e m p o r a n ^ f y in hi5 charac t -ers, his preferred m a n n e r of pres-entat ion re tu rns to the Middle Ages in the d r a m a t i c form of what he calls the " t h e a t r e a m b u l a n t , " best described as the t ravel ing thea t re or a theatr ical per form-ance executed on "two bar re l s and a boa rd , " so to speak. He specifically calls for a smal l inner s tage on which s imple scenes a re painted or flashed, the major i ty of the action happening on an apron s tage or, in the tradition of the Middle Ages, the surround-ing marke tp l ace .

P e r h a p s the closest thea t r ica l forms which are cur ren t ly popu-lar today to this type of thea t re would be embodied in the puppet stage, the circus, or the well -known gyrations of the " c a r n e y " and his t ravel l ing troupe.

Indeed, Stravinsky s e e m s to have purposely intended this as-sociation 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 actual ly controls the action as well as the at t i tudes of the charac te r s . Hence, it is the n a r r a t o r who puts it into the mind of the soldier to f r e e himself f rom the Devil 's power by losing to the Devil a t cards , for the Devil in his na tu re , must take and take, and the soldier cannot r ega in his original integrity until he rids himself of the ill-gotten gains he has gotten through the power giv-en to him by the Devil.

In the theme itself, then, we see a universal problem (the strug-gle of good and evil) as well as the medieval fascination with the mor-ality play and the "exemplum"

or moral ta le . "The Soldier's Ta le , " is, we feel,

of all the offerings of the Fine Arts Fest ival at Hope College this year , the most representa t ive of an amalgamat ion of the ar ts . F i rs t of all, it is a "spe.iking opera , " involving actors (as opposed to s ingers) , musicians, ar t is ts and dancers .

Again, pe rhaps more than any other of the productions, we have drawn upon the " tota l communi ty" of Hope College and Holland: the conductor (Mr. Robert Cecil) and the musicians a re of the Hope College Music Depa r tmen t ; the director (Dr. Edward Savage) is a m e m b e r of the (English Depart-men t ; the ac tors (William Brauer as the soldier, William Cathcar t as the Devil and Mabel Seaman as the princess) a r e s tudents of history and English; the na r ra to r (Mr. J a m e s Malcolm) is an in-s t ruc tor in the Speech Depart-men t ; the se ts were designed by Mr. Stanley Harr ington of the Art Depa r tmen t ; the choreographer is Mrs. Dorothy DeLong, who directs her own dance studio in Holland; the costumes have been executed by Mesdames Heine, Cecil and Hollenbach; the lighting by Donald Kardux, a s tudent in thea t re .

Obviously, this has been a " t h e a t r e a m b u l a n t " in more than one sense. We hope that you a re both char i table and amused at this crazy-quil t of endeavor .

Festival Tickets Attendance 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,

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

1964 OPUS — Cover photo by John Kil lmaster

'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 ee to students on Fr iday. Appearing as part of the Fine Ar ' s Festival this weekend. Opus. Hope's f ine a r t s magazine will feature the works of twen4y-six campus poets, painters, sculptors and photog-raphers .

"Opus 64," a program of read-ings from Opus by the contribu-tors, will serve as an "unvei l ing" of the new issue at 1:00 p.m. Fri-day at Kollen P a r k . Following the dismissal of c lasses at 12:20 p.m. and a picn c lunch at Kollen Park from 12:00 to 1:00 p.m., readers will present ten selec' ions f rom the new issue in the iband-shell at Kollen Park .

Poetry occupies the most space in the 52-page issue and fea tures several poems on the death of John Kennedy, a number on light or whimsical subjects , chi ldren '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. In-stead. ten photographs by students have been included to recognize another aspect of a r t .

Opus, first published in 1954, ap-pea r s once or twice each year , depending on the amount of qual-ified mater ia l submit ted by stu-dents . About one-fourth of the entr ies will appear in the 1964 issue; the board re tu rns all mate r -ial with their suggestions if desir-ed.

The seven-member board, select-ed in the fall, functions throughout the yea r to scout good mater ia l and encourage writers. This y e a r ' s board includes Linda Walvoord. edi tor : Alan Jones, associate mem-ber, Don Kardux, Susan Spring, Kathleen Verdu n. Robert Werge and Ruth Yzenbaard.

For those who do not attend the 1:00 p.m. readings. Opus will be available in front of Van Raal te all afternoon on Fr iday. The cen-ter-fold insert of the issue is the complete program of events for the Fine Arts Festival.

by Mr. James Loveless (Editor's note: In the following

article Mr. James Loveless, chair-man of the Fine Arts Festival Art Committee, gives his views on the contemporary art exhibits now on show.)

For those of you who have seen or will see the two ar t exhibits now on display in the Van Zoeren Library and in the home of Dr. and Mrs. VanderfWerf , I want to wri te a fur ther word. The ration-ale behind this a r t p rogram grew out of a desire to focus on the significant art being produced to-day. All of the a r t i s t s exhibiting enjoy a considerable amount of professional success which is borne out by their extensive ex-hibition records and by their re-spected reputat ions in the profes-sional ar t world.

Jus t as impor tant as this, how-ever . is the diversi ty of personal ar t is t ic expressions tha t can be viewed. It becomes appa ren t in viewing these exhibits that a sin-gle s tandard of excellence or a restr icted level of expectat ion is inadequate in apprehending these works of ar t . While this diversity can at f i rs t be unfami l ia r and confusing, it is never theless char-acter is t ic of the a r t produced in a democra t ic society today.

Those responsible for a r ranging the ar t p rogram felt that it would be helpful in unders tanding the ar t of our own t ime to invite th ree professional ar t i s ts to the campus to share their views. To set the

s tage for their symposimn, the re is on display some examples of work done by these visiting art-ists in the Van Zoeren Library.

I expect that we will hear a wide range of ideas and opinions expressed. This is part ial ly reflect-ed in their work, although the na-ture or extent of this range can not be determined by the work alone.

The exhibition in the home of Dr. and Mrs. VanderWerf comes f rom the Allan F r u m k i n Gallery in Chicago. This was assembled to offer the interested viewer an ex-tended variety of paintings and works of sculpture by ar t is ts inter-nationally known and respected. It is hoped that this will serve as a provocat ive encounter both to the audience and to the panel m e m b e r s who will ibe speaking Sa turday .

The Fine Arts Fes t ival Commit-tee hopes that this a r t p rogram will help c lar i fy just what indeed does consti tute the a r t of our t ime and perhaps distinguish it f rom the countless other products of human endeavor which mistakenly share its label.

Since the panel which will speak on contemporary a r t on Saturday morning consists of ar t i s ts who are also teachers , I thought that it would be appropr ia te to s ta r t with a question which might well be a concern of educat ion: In a society

which defines as being valuable those goods and services which resul t in a negotiable produce, is the re any reason for m e m b e r s of that society to seriously consider the efforts of the plastic ar t is t?

Sculpture by Carol Harrison

Igor Stravinsky's 'Soldier's Tale,'

'Cantata' Offer Contrasts in Style

Students Display Creativity

In Theatre During Festival

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 Fri-

day and Saturday evenings.)

The choice of Igor Stravinsky for a Fine Arts Fest ival is a na tu ra l one. Throughout his long ca r ee r he has often changed his style and yet he has always been stylish. "The Rite of Spring" which crea t -ed such a stir in 1913 is now very popular with the general public, while his newest works a re great -ly admired by the most progres-sive composers .

The two compositions which Mr . ' Kooiker and I have chosen com-plement each other and offer a great contrast in style. "The Can-ta ta for Soprano, Tenor and Fe-male Chorus" was writ ten in 1952. It is a sett ing of a group of med-ieval English poems and, while very demanding of the soloists, it is a beautiful , lyric piece.

"The Soldier's Ta le , " composed in 1917, is ta i lor-made for us. The staging is quite simple and it requires a min imum of props. I am also pleased that it has in-volved not only the music depar t -ment but s tudents and facul ty from other depa r tmen t s , as well

as Mrs. DeLong. our choreograph-er. f rom the community .

It is an imaginat ive and sophist-icated work: the music has humor and a wonderful rhythmic drive rnd the Russian folk ta le that it tells has universal appeal . "The Soldier 's Ta le" fuses music, poet-ry and the d^nce to provide what we hope will be a wonderful eve-ning of theat re .

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

When confronted with the idea of a Fine Arts Fest ival and what should be included as the thea t re portion, two intrinsic factors of the thea t re p rogram at Hope Col-lege formed the basis for selection: the f i rs t being a r a the r pract ical consideration of t raining for stu-dents in direction seminars , the second, the allowing of s tudents to

MASQUES AND FACES — Peggy Welmers, John Melichar, Jan

Blom, Ruth De Boer, Sue Radliff and Don Kardux will participate.

have their creat ive efforts pro-duced. so that they might learn f rom this very production.

Uppermost in all considerat ions was. of course, the essential idea that any Fine Arts Fest ival of any college should center on the creat-ive efforts of the s tudents in the a r t s and thus elicit f rom the aud-ience an awareness of crea t ive activity of the students involved in this par t icular ar t of theat re .

It was felt that we need not rely on outside talent in the selection, but that there was enough vital, c rea t ive talent within our own en-virons to provide such a p rogram of theat re . And it was f rom this basic premise that we proceeded. F r o m here, additions were m a d e in the selection of individual per-fo rmances to add to the p rogram which would be interest ing, in-s t ruct ive in some cases, as well as giving again, the opportunity for individual expression of talent .

Whether or not the direction by s tudents is "profess ional ," wheth-e r or not the plays produced are " g r e a t d r a m a , " whether or not the i n d i v i d u a l per formances a re " g r e a t , " is immater ia l in a sense. That they should be well done is, na tura l ly , of concern. But the ul-t i m a t e goal is tiiat the s tudents have had the opportunity to ex-press themselves, to see their work produced in f ront of an audience and from this opportunity not only to learn and grow, but to provide an awareness of the vitality of the thea t r e at our college.

FINE ARTS FESTIVAL-19(4 April 20 — May 4

Art Exhibit Van Zoeren Library

Sculpture, Painting, Prints

April 20 — 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.

Wednesday, April 29

Hope College Little Theatre — 8:00 p.m. MASQUES AND FACES: PART II

Original one-act plays Solo Performances

Student-Directed One-acts

Thursday, April 30

lonesco's RHINOCEROS Performing Arts Company Michigan State University Holland High Auditorium

Matinee: 3:00 p.m. Evening: 8:15 p.m.

Friday, May 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 I

(r«Deat performance) Kollen Pork — 1:00 p.m.

Opus 64 Program of Readings from Opus

Saturday, May 2

Winant's Chapel - 3:00 p.m. Symposium of Contemporary American Art

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, May 3

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.