PAGE TWO THE MICHIGAN DAILY rR/114ZInA G TiTtTi TiA Q rft laaa' THE MICHIGAN DAILY ITI UK6 UA Y, EIUW5~A h24 196 I MUSIC Cliburn Concert: 'Disappointing, 'Surprising and Triumphant' DANCE Spring Dance Concert Is Modern Smorgasbord Student Experimental Theatre Offers Sachs Morality Plays U By MARK R. KILLINGSWORTH Van Cliburn's concert last eve- ning in Hill Aud. was a disappoint- ment, a surprise and a triumph. Cliburn began the evening with° the Intermezzi Nos. 1 and 2, Op., 118, and the Ballade in G minor, Op. 118, No. 5, by Brahms. The second intermezzo was full of the. inner harmony and the serene repose Brahms expresses so well. But it was marred by a some- what harsh and abrasive render- ing. of the first intermezzo and the Ballade. Although both, to be sure, are vigorous and sturdy ve- hicles, they were a little too much° so last evening -- particularly in contrast to the second intermezzo. Too 'Appassionata'? Next was the Sonata in F minor, was too "appassionata" and force- ful, at times to the point of bom- bast, particularly in the first movement. He accented the sev- eral series of repeated sixteenths of the first movement too heavily and used tempi which very nearly amounted to rubato. Combined with a number of technical dif- ficulties, this approach gave Bee- thoven a disappointing, jerky an- gularity which he fortunately rarely has. Cliburn next played Prokofieff's Sonata No. 6 in A major, Op. 82. Prokofieff's piano sonatas are all classics of their genre, but they are all exquisite concoctions of the profound, the mordant and the vigorous.rr E Prize-Winner Op: 57 ("'Appassionata")_ by Bee- Cliburn, on the other: hand, is thoven. Here, too, Cliburn himself still known to most concert-goers Viet Coaii on Seen A S tep to TaKeover By The Associated Press I What is likely to happen if the Communists eventually become part of the government in South Viet Nam? From the West's point of view, the history of ,such coalitions is not bright. Time after time, the coalition has been only the pre- lude to full Communist takeover. This has been generally true of countries in the geographic sphere of Communist influence. China, Hungary, B ul g a r i a, Czechoslovakia, Romania, Poland, North Viet Nam and Cuba all have had coalition governments. In all] cases the Communists overwhelm- ed other political elements and established totalitarian rule. Coalition Government Communists in Indonesia took part in a coalition government., But for the premature misfiring, of a plot, they would have grabbed; the whole country last October. Only in the West have the Com- munists failed to prosper with coalitions. France and Italy had Communist representation in their governments in the years imme- diately ;after. World War II. In both cases, the Communists were ejected and. thereafter excluded1 from participation in cabinets. Otherwise, the Communists have done well.1 This is the story: CHINA The Chinese experience was a1 herald of things to come, a classic example of how Communists re- gard coalition governments. Thei story goes back to 1922, two years after the Chinese Communist party was founded, when the Co.- munist International in Moscow ordered it to join the ruling Na- tionalist Kuomintang under Chiang Kai-shek in a coalition. Insurrection In 1927, the Koumintang learn- ed of international Communist plans to seize China, and purged Communists from its ranks. The Communists quickly went over to insurrection which became revolu- tion. During the Japanese invasion, the Communists again joined the Kuomintang. The party promised publicly to abolish its own forces, integrate them with the national army and end the "class struggle." Chiang evidently thought they would put China's interests before all else. The Communists, h o w e v e r, quickly attacked the Nationalist rear with sabotage and subversion, expanding their own strength at Kuomintang expense. At the time of World War II, the Communists held Shanisi and Hopei provinces, and while the Nationalists fought the Japanese, the Communists harassed the Kuomintang rear and 'expanded into northern China. They re- established the "Soviet" govern- ment they had sworn to dismantle. Increase Demands In 1944, the Nationalists tried to reach a settlement with the Com- munists, who constantly increased their demands. The United States tried to mediate, and Mao Tse- tung signed a coalition agreement. As the war ended, Mao agreed on the need to end internal strife. Then he threw a wrench into the works by increasing his conditions for an agreement. The Nationalists finally agreed to a political consultative confer- once which was supposed to con- vene a national asembly to draw up a constitution and reconstruc- tion program. There was a cease-fire agree- ment, but the Communists soon accused the Kuomintang of break- ing it and resumed fighting in the northeast. Thereafter, the Com- munists discarded all agreements and mounted the offensive which, by October 1949, made them mas- ters of mainland China. POLAND The Soviet Communists never gave coalition a chance in Poland after the war. There had been a. "national unity" government, but Russian - supported Communists took controlling positions. The United States protested suppression of democratic activity as violating the 1945 Yalta ac- cords, but the Communists paid no heed. Leaders of other parties were arrested, imprisoned or forc- ed into exile. In 1946, Poland already was under totalitarian rule, with all opposition strangled. BULGARIA In September 1944, as the Nazis were being driven out, Bulgaria had a "fatherland front" coalition regime. The Communists had an easy job with the support of Soviet troops. Despite Yalta By the end of 1946 they had taken over completely and ruth- lessly, despite Yalta pledges of free elections. By the following summer they crushed the last of the opposition by the arrest and execution of Peasant party leader Nikola Petkov. When Georgi Dimitrov, veteran Communist revolutionary, became premier, Bulgaria was under to- talitarian rule. Again, the United States protested. SHOWN AT 1:00-3:00- 5:00-7:05 & 9:10 He's . no secretA as "the man who won first in the Tchaikovsky Competition" in 1958 and, hence, supposedly only good at interpreting Tchaikovsky, Brahms, and other composers of that general melodramatic ilk. What may .be called the "Tchai- kovsky First Piano Concerto syn- drome" unfortunately seemed to have had an emphatic influence on Cliburn's Brahms and Bee- thoven; what could Cliburn's Prokofieff possibly have in store? It was, quite simply, the surprise of the concert. Cliburn delighted his audience with a glittering and powerful performance, full of wit and pathos. The first movement was extremely forceful and ener- getic, and the elegant second movement, Allegretto, was sting- ing in its sophisticated humor. Sad, Sardonic, Sultry Cliburn used the entire dynamic range of the piano in the Proko- fieff-something he appeared to have trouble doing earlier-and the slightly sad, somewhat sar- donic and even vaguely sultry third section, Tempo di walzer, was, the outstanding and very pleasing beneficiary. -Despite some occasional impressions, the final Vivace was a brilliant tour de force, played with great drama' and greater speed.' The triumph of the evening, however, came. last.: Chopin's Sonata in B minor, Op. 58. The impressive Allegro maestoso was at times somewhat too vigorous, and reminded one more of Rach- maninoff than Chopin - or at times of Chopin as he might have been played in 1848. But the next two sections, Molto vivace and the Large, were effec- tive and affecting. Cliburn devoted great care and invested much feel- ing in the long, singing sections here, and expressed movingly the quiet and clarity that are the es- sence of Chopin. And the Presto ended the concert on a cascade of brilliance. The audience enjoyed it tre- mendously, and so, evidently, did; Cliburn. After five encores-two of which, appropriately enough,1 were from Chopin - the concert ended, and with it something of a1 triumph. 4TH & FINAL WEEK By MARCIA WICK If you're looking for pink ruf- fled tutus ora classic rendition of Tchaikowsky's "Swan Lake," you won't find it at the Spring Dance Concert. Instead, the program will feature a wide variety of modern dance completely organized by stu- dents of the Dance Department. The Sixteenth Annual Dance Concert will take place Friday, Feb. 25, and Saturday, Feb. 26, in the Barbour Gymnasium Dance Studio. Presented by the Univer- sity Concert Dance Organization, it will represent the efforts of students in the Advanced Chor- eographic Workshop, consisting primarily of dance majors; Work- shop Two, composed of younger dance majors, minors and non majors; members o fthe Modern Dance and.Ballet Clubs, and Mod- ern Dance class participants. The dance students themselves have organized the entire pro- gram. Those experienced in mod- ern dance have supplied the chor- eography, while others have aided in the production of costumes, in staging and lighting the selections, or in publicizing the concert. The overall operation is under the guidance of Prof. Ester E. Pease, superintendent of women's physi- cal education ,assisted by Miss Gay Delanghe and Mrs. Susan Ad- ams, instructors in women's phys- ical education, and Mrs. Elleva Davidson, dance department grad- uate and teaching-fellow. In addition to performances by University dance students, one of the featured sections of the pro- gram is a 20 minute selection per- formed by high school dance stu- dents of Interlochen Arts Acade- my. This dance, "Bialando," has been choreographed by William Hug, head of the dance de- partment at Interlochen, and set to music by Warren Benson,. an American composer. The dance program itself is as varied as the students who have organized it. The modern dances have been set to recorded music of every sort imaginable, empha- sizing the versatility of modern dance itself. Compositions by De- bussy, Reventhal, Kelemann, Va- rese, and Ives, a piece of Bach transcribed into percussion ,elec- tronic computer music, and even Shows at 1:30-4:30-8:00 P.M. Matinees. .....$1.25 Evenings & Sunday... $1.50 Children ..............75c periods of complete silence provide appropriate backgrounds for the students' dances. "Caprice," for example, is a for- mally structured yet light and airy dance accompanied by Vi- valdi's "Concerto in C for Trum- pet and Strings." This composi- tion is performed by five under- graduates clad in bright pastel costumes, who dance with enthus- iasm and assurance. It provides a delightful opening selection for the concert. "Caprice" is followed by "Cir- ca," certainly one of the most un- usual selections of the concert. This dance begins with a tight cluster of dancers who move across the stage encircled by a large metal hoop. Following this rather unusual opening, the rest of the composition consists of dancers entangled and ensnared by the hoops, unable to free themselves. The theme of entanglement occurs throughout the dance, perhaps symbolizing present - day man caught in a web of societal pres- sures and prejudices that hamper his individuality. Miss Delanghe emphasizes that this dance, done in complete silence with dancers wearing black leotards bandedin bright stripes, provides an "avant- garde satirical commentary on contemporary society." Although perhaps a bit obvious in symbolic content, this fascinating composi- tion is left up to the viewer to in- terpret. One of the best selections is "Hyperprisms," choreographed by Michelle Levine, '67Ed, and set to music by the contemporary composer Varese. The three danc- ers, costumed in black leotards with white geometric designs su- perimposed, are a study in com- plete control of body movement. The dance itself is highly struc- tured, emphasizing the composi- tional and spatial arrangements of the dancers. The Spring Dance Concert is well worth seeing. It represents the climax of what the dance de- partment students' efforts since last fall promised to be, and, in- deed, is a presentation of a great variety of dance forms. Tickets are still available and may be purchased prior to the performances, Friday and Satur- day at 8 p.m., and a Saturday matinee at 2-:30 p.m. 11 I MN" TONIGHT AT 8:30 P.M. PROFESSIONAL THEATR E PROGRAM presents the By BOBBI SCHEAR The Department of Speech will present as its ninth Student Lab- oratory Theatre Production of 1965-66, "Dame Truth" and "The Wandering Scholar from Para- dise," medieval plays by Hans Sachs. The production, at 4:10 this afternoon in the Arena Thea- tre of the Frieze Building, is open to the public. Hans Sachs, a 16th century cobbler and master singer in Nur- emberg, Germany, wrote plays that made people laugh at themselves. In "The Wandering Scholar," a short farce, a peasant wife gives 0 Edith Hamilton translation of Euripides' mac~sterpie ce clothes and money to a wander- ing scholar who has promised to take them to her departed first husband in Paradise. After belit- tling his wife for her silly ways, the woman's present husband goes after the scholar to retrieve his property. The farmer, outsmarted by the scholar, is reconciled to his wife. The townspeople of Sach's mor- ality play, "Dame Truth," are cel- ebrating Shrovetide and speaking of piety and good deeds when a stranger appears. The young wom- an who asks for shelter is Dame Truth, sent from heaven to spread truth to all people. The peasants are anxious to help her until she reminds them of their faults and foolishness. Then they chase her into a well where she disappears echoing the Len- ten message: "Who harbours truth must pay the tax, not count the cost." Barbara Linden, the director of "Dame Truth," is trying to create real people in a foreign time and place. She has used an expression- istic set, creative dance, and im- aginative lighting to illustrate the dramatic contrast between the earthy realism of the peasants and the allegorical super-human qual- ity of Dame-Truth. THE TROJAN WO0MEN, The Circle-in-the-Square Production Originally Directed by MICHAEL CACOYANNIS WINNER OF THE NEW YORK DRAMA CRITICS CIRCLE AWARD THURSDAY FEBRUARY 24 8:30 P.M. HILL AUDITORIUM I of F- II DIAL 8-6416 3RD WEEK W Wnner o8i Academy Awards including Best Picture. IAUDREY HEPBURN -REX HARRISON agent..,.- he's a crook! Shown at 1-3-5 7:05 & 9:10 A., A, .TraT TCMOPE* TECHNICOLOR* Col.UMBIA PICTURES presents HORST UCH0LZ in An Anthony Isesi, Film "THAT MAN IN ISTANBUL" SATU1RDA Y IF $'(CREATIVE ARTS FESTIVAL PRESENTS THE NEW CHRISTY MINSTRELS 11 A row., I This Week at SI ;"..