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SIDELINE ON SGC:
All Quiet on the Liberal Front
orials printed in The Michigan Daily express the individual opinions of staff writers
or the editors. This must be noted in all reprints.,
AY, OCTOBER 11, 1963
NIGHT EDITOR: GERALD STORCH
Social Regulations Must Lead
To Fulfillment for All
tUSTOMS, MORES and standards of
conduct" are often invoked to con-
nn the attempts of Negroes to gain
i rights. "Such regulations," Edwin
aki has said, "play an important role
whether a person is to be socially ac-
ted or not." But in not examining
se regulations, the spirit behind them
I their applications, one ends up with
farrow analysis of the Negro freedom
vement.
'hese regulations, like all social rules,
no more than channels through
ich human action flows so that indi-
ual desires do not conflict with each
er, or at least do not end in violence.
h individual seeks something different
himself In the course of interacting
,h his fellow men; society establishes
s merely so that all its citizens can
ieve what they legitimately want
hout jeopardizing the attempts of
ers.
IERE WILL always be questions of
whose desires must suffer so that some-
else's rights are not compromised.
en civil rights are involved, however,
n an individual's very opportunities
self-fulfillment are at stake, there can
no question.
ut some think that the regulations
ch at Negro must follow are different
m the ones a white man must follow.
e Negro is not to protest, not to seek
s or education or decent housing or
vice in stores, perhaps not even to'de-
nd a vote in elections. Yet the white
a is allowed to deny the Negro, either
illy or extralegally, these opportunities
fulfillment which are the only means
Alable to the Negro for achieving a
ent status in America.
IF THE SPIRIT of social regulation is to
maintain social order while individuals
seek their private ends, then the applica-
tion of those rules to one group and the
exemption of another is pure hypocrisy-
and highly dangerous.
Rules become a sham, no more than a
superstructure erected by one group to
create peace at the expense of another
group's freedom. Indeed, even the Golden
Rule becomes meaningless.
But it is even less supportable to go
further and expect the Negro to achieve
social and individual dignity while still
denied the channels which a government
of law and a concept of equal opportunity
purport to provide.
The fact that other minorities have
achieved this dignity without breaking
the rules is not especially significant.
These other minorities-Jews, Japan-
ese, Chinese-already possessed an iden-
tity of their own when they came to this
country and faced discrimination. They
did not need to break social rules to es-
tablish dignity; indeed, they could almost
be independent of society.
But the Negro, for the past 300 years,
has been denied that dignity and divested
of much of the racial and cultural iden-
tity he brought to America. He is part of
the American culture, yet because he has
never been granted its rights and im-
munities, he has, to a large extent, been
unable to distinguish himself in it. He
has been filled with America but never
integrated into America.
FOF THIS REASON-one of the themes
of James Baldwin's "The Fire Next
Time"-Negro separationist movements
like the Muslims, do little more than
elevate Negro morale, and that for onlyj
a short time. Unequally applied social
regulations have largely precluded the
development in the Negro of something to
elevate.
Yet the Negro is too much an American
to turn elsewhere. It is within the Ameri-
can context that he must seek his dig-
ON THE OTHER HAND, whites can
hardly point to social regulations and
demand that the Negro follow their spirit
while the whites themselves do not.
Whites can hardly expect anything but
protest. In the sense that the Direct Ac-
tion Committee is a protest movement I
can sympathize with it, even while I
think its methods too militant for it to
achieve everything it desires.
Moreover, Negro protest, besides being
expected, is wholly self-justified, wholly
right. It is right because only by protest-
ing loudly can the Negro gain access to
the channels and opportunities which are
vital to his achieving a dignified posture
in American society.
-JEFFREY GOODMAN
By LOUISE LIND
ALTHOUGH it polled over 4000
members of the student body,
Wednesday's Student Government
Council election may be considered
a fair index of current trends in
campus political thought only in
that it registered the growing
apathy among students and the
increasing disenchantment of lib-
eral student groups with SGC.
A total of 4356 votes were cast
in the election. Only one year ago,
a total of 7193 voters went to the
polls. Admittedly, last fall's, eleo-
tion had an additional drawing
card: the referendum issue on
the United States National Stu-
dent Association. However, the
figures still hold.
In Wednesday's election, a ma-
j ority of conservative candidates
were elected. No candidates were
sponsored by the liberal VOICE
political party, and only two re-
ceived VOICE endorsement. One
year ago, four candidates were
unconditionally sponsored by
VOICE. Three of these were elect-
ed to Council.
STUDENT APATHY, indicated
by the difference between the vote
totals, is the bugbear of any stu-
dent government. In the past, on
this campus, it has been roughly
shaken by a truly bipartisan cam-
paign that offered voters real is-
sues and two diametrically opposed
political platforms. Voters went to
the polls to make a real choice on
issues and platforms, not to give
mechanical balloting service to
their duty as student citizens.
However, it appears that VOICE
has at last been wearied by per-
sistent student disinterest in cam-
pus politics. This fall it too has
turned its face from campus con-
cerns. It has decided to take a
longer look at state, national and
international affairs.
To VOICE itself this readjust-
ment does not signify any de-
crease or weakening in campus
liberal factions. It merely repre-
sents a new orientation on the
part of its members, who have
decided that national affairs take
precedence over campus concerns.
HOWEVER, to SGC, this re-
orientation of liberals presents a
real "liberal' crisis" and the pos-
sible loss of true bipartisan poli-
tics on Council.
Bipartisan politics, although of t-
en irritatingly petty and bother-
some, are almost a necessity on
a body such as SGC.
SGC depends upon the stimulus
of bipartisan politics to bring new
issues of relevance to the Council
table. It depends upon the ex-
pressed opinion of various vested
interest groups to arrive at mean-
ingful compromise conclusions,
truly representative of student
opinion. No compromise is pos-
sible without knowing the extremes
of any question.
Without bipartisan politics,
Council is a body as stagnant as
a Florida swamp. Traces of this
were seen all too frequently in this
past semester's debate at the
Council table.
* * *
THE SITUATION had been
growing steadily worse when on
Tuesday, Sept. 17, Council mem-
ber Kenneth Miller, liberal and
VOICE member, announced his
resignation from SGC. In a letter
to the editor of The Daily, Miller
expressed a distress about the
inner-workings of SGC common
to many campus liberals.
I He said, "When I ran for SGC
the first time, one and a half years
ago, The Daily warned that I
would become disillusioned, and
they were correct. It is quite true
that SGC has its absurd sides.
Parliamentary procedure, the pass-
ing of notes at meetings and the
committee system are symptoms
of a Kafka-esque structure that
I still believe SGC can rise above."
Disillusioned, Miller still believ-
ed that "SGC can be more than a
let's pretend' student government"
but was evidently no longer con-"
tent to go on pretending with the
other members until the necessary
changes could be made.
Miller's resignation and Wed-
nesday's SGC elections make the
fact of the decreasing liberal in-
terest in Council only too clear.
IT WAS EVIDENT to newly-
elected Council members attend-
ing Count Night at the Michigan
Union Ballroom.
SGC Treasurer Fred Rhines, re-
elected as a write-in candidate,
noted the downward trend among
liberals to seek election to SGC.
He attributed this "liberal lag" to
"lack of good liberal leadership."
"VOICE is the liberal strong-
hold on campus," he said, "and
in this election, it did not even
endorse anyone fully."
However, Rhines said he didn't
feel that the liberals would be
"down" all the time and predicted
that "as soon as they find a lead-
er, they will be competing with
the conservatives for seats on
Council."
HE PARTIALLY explained the
conservatives' ability to escape
similar seasonal fluctuations. "The
conservatives don't have a political
party, but they do have the Inter-
fraternity Council backing them."
IFC's primary function is to act
as a co-ordinating center for cam-
pus fraternities. This function rel-
egates IFC's political function to
a lesser position and helps the
organization to maintain a great-
er stability than that of campus
groups whose sole purpose is the
political.
PRECISELY HOW the current
"lag" of liberal interest in Coun-
cil will affect student government
is, ~at this point, a matter for
speculation. Assuredly, it will not
help to revive debate nor will it
prod Council to undertake new and
expanded projects in the students'
interest. In all probability, it will
not inspire whatever leaders Coun-
cil elects nor will it draw forth
their most dynamic qualities..
The liberal "lag" of interest
certainly will affect the outcome
of the SGC officers' elections.
These are normally held at the
first regular meeting after elec-
tions when Council members se-
lect their own officers.
Several candidates have already
unofficially announced themselves
as possible presidential candidates.
The conservatives among these are
already rallying support among
their ranks.
THE POSSIBILITY of a liberal
gaining election to the presidency
seems remote. While the conser-
vative kings sit in their counting
house, counting all their money,
the liberals are in the parlor, with
queens and other lesser beings,
eating bread and honey.
-Daily-James Keson
A PA's 'Much Ado':
Artiness, Not Art-
r
LETTERS TO THE EDITOR:
Kerr Explains SACUA
Role in Government
Taunt
}URING the discussion period follow-.
ing Wednesday's Viet Nam demonstra-
on, someone from the crowd demanded
speaker Dick Flacks, "Are you a Com-
unist?"
Flacks quickly answered, "It's none of
ur business," whereupon the unknown
rson stormed away.
p IS CONSIDERED a right to discuss
"official" ideas and principles upon
hich this country's entire ideology is
sed. But it seems that the first reaction
narrow minds to any questioning of
fficial policy" is immediately to start
Mling the questioner names.
The taunt was irrelevant and malicious.
acks handled it very well.
--C. COHEN
THE LIAISON:
A Theatre Monument
Marjorie Brahms, Associate Editorial Director
y-
i 4v !'C .
9. Ito
To the Editor:
THE RECENT ARTICLE in The
Daily which quoted Thomas
Smithson concerning student par-
ticipation in the subcommittees of
the Senate Advisory Committee on
University Affairs seemed to imply
that this represented a step toward
faculty-student government of the
University.
Because of the significance
which this participation can have
for both faculty and students, it
is important that the role of the
SACUA be understood.
AS ITS NAME IMPLIES, SACUA
serves in an advisory capacity to
the University administration.
Those of us who serve on SACUA
and its subcommittees are con-
vinced that the administrative of-
ficers of the University welcome
its advice and find it useful.
We also consider SACUA an
important avenue through which
faculty opinion can be communi-
cated to the administration and
through which the faculty can in-
fluence the formulation of Uni-
versity policy.
NEVERTHELESS, SACUA does
not govern. Thus, although stu-
dent participation in SACUA sub-
committees can be expected in
some cases to add a valuable new
viewpoint to the studies made and
the recommendations formulated
by SACUA, it is not interpreted by
SACUA as a step toward faculty-
student government.
-Prof. William Kerr
SACUA Chairman
Politics . ,.
To the Editor:
MR. SASAKI'S LETTER of Oct.
8 has stirred much comment
from the campus, mostly in the
form of condemnation of his po-
sition on civil rights. I, too, must
condemn this position as being
not only ignorant and reactionary
but showing a total lack of under-
standing for the civil rights move-
ment. The letters in The Daily
during the last few days have said
this and more so I need not go
into it again.
However, I have been forced to
remember that Sasaki was a
VOICE candidate kfor Student
Government Council last year. He
ran on a VOICE ticket and VOICE
members worked in his campaign
and voted for him.
When Sasaki spoke to VOICE,
many of us had reservations about
running him, however, a majority
of the members felt, at that time,
that he was liberal, interested in
working actively for reform
through SGC and concerned with
the problems that concern VOICE
members.
* * *
DURING that campaign Sasaki;
helped to write a VOICE plat-
form along with the other can-
didates and the VOICE executive
committee. The part of that plat-
form concerned with civil rights
says among other things that
VOICE actively supports the Stu-
dent Nonviolent Coordinating
Committee and, furthermore, will
rights movement and even con-
siders the NAACP work to end
housing discrimination "immoral"?
His recent letter implies that he
felt the SGC election important
enough to warrant hypocritical
words and actions.
It is flattering to think that
even a conservative like Sasaki
would feel VOICE endorsement
necessary to win the election, but
it is horrifying to find that he had
to use such immoral and impolitic
means to achieve this.
It was a mistake for VOICE to
endorse Sasaki who clearly op-
poses all that VOICE stands for
and works actively to implement.
Sasaki has shown himself to be
a hypocritical, immoral politician.
-Nanci Hollander
Chairman, VOICE Political
Party
Jobs .-.
To the Editor:
CAN THE UNIVERSITY not take
steps to prevent random firing
of residence hall employes? Until
last week, I was employed in the
South Quad snack bar, and, I
might add, never received criticism
for my work.
Last Thursday, I was informed
that a man who had previously
worked in the snack bar had re-
quested his job back. I was fired
without explanation, and when in-
sisting upon a reason, was given
a vague excuse about confusing
the girls working there. Had I
been inefficient, I should have
been informed during the first
weeks of the semester. At the end
of the fifth week, no other resi-
dence hall jobs are available.
I took on this job because I am
financially in need of employment.
Now, I am left with either no job
or a greatly reduced amount of
hours (After I pleaded with the
snack bar manager, he benevolent-
ly granted me a few hours of work
per week.) in order that a friend
receives his job back. Is this jus-
tice?
-Carol Soffer, '66
EXTRA CONCERT SERIES:
Goldovsky Company
Gives Effective Tosca'
DMITTEDLY, "M u c h A d o
About Nothing" is a complex
and challenging play; like othet
Shakespearian comedies, it has an
undertone of sadness, bordering
upon the tragic. Further, it is fill-
ed with plotters and plots ("much
ado" indeed); the' juxtaposing of
all these characters and their
many plans creates the comic con-
dition. In the end, of course, love
and life triumphs.
Last night's Association of Pro-
ducing Artists production was em-
inently fashionable and bustling.
The big stage in the Frieze Build-
ing was filled to overflowing with
people (including children), artifi-
cial flowers and badly-pronounced
Spanish.
Which brings me to my first
reservation: Why Spain? Shakes-
peare is most exact in his setting:
it is the city of Messina, on the
island of Sicily. But evidently the
Italian background did not offer
enough imaginative opportunity
for the director, Richard Bald-
ridge.
In Spain he had more freedom:
children playing at bullfighting
(ethnic?), funerals and weddings
and dances (those ceremonial
Spaniards!) all conducted in
Spanish (long before Pope John
ever dreamed up the Vatican Con-
gress to consider the propriety of
using the vernacular), and finally
even a black handkerchief (sym-
bolism, at last, sophomores).
What one objects to is not the
principle of inventiveness, but the
execution, the conventionality of
dear old Spain. One plaintive o16
for the effort.
LET ME ADD one bit of, per-
haps, pedantry. Why is it that di-
rectors can waste precious min-
utes on elaborate,.extraneous stage
business (the funeral of 'Hero is a
case in point), but must always
have their actors rushing breath-
lessly across the stage flinging
words like handsfull of confetti?,
Miss Geer and Miss Knight, Mr.
Linville and others run so ecsta-
tically that one fears for their
well-being.
THESE CONDITIONS--the con-
stant adding of gimmicks, the ex-
cessive emphasis upon physical ac-
tivity-presumably are there to
give a sense of life to an otherwise
dead play. Nor is the APA alone
in this presumption. Productions
of Shakespeare at other theatrical
centers have the same character-
istics: this is twentieth-century
limited Shakespeare.
Shaw used to complain that in
the substitution of visual and mus-
ical "elegance" for Shakespeare's
lines, directors made "fricassees"
of the productions;dhe attributed
this tendency to the general opin-
ion thatdShakespeare was a miser-
ably bad (playwright whose plays
needed much careful revision.
"Fricassees" we still have (old,
I suppose, for the Spanish spices),
But the motives, as I analyze them,
have changed. Directors no longer
doubt Shakespeare; on the con-
trary, awed by his skills and in-
venti eness, they retreat to their
own devices because they can't
quite comprehend his.
In place of art, we have artiness.
But there's more than that. Direc-
tors and producers today mis-
trust (and underestimate and in-
sult) their audiences. Their atti-
tude seems to be that we can no
longer be allowed Shakespeare
plain.
"MUCH ADO" has certain great
moments as well as a few supreme-
ly well-established characters and
conditions. After all is said and
done, Beatrice and Benedict are
prototypes without peer of witty
lovers and Dogberry stands among
the immortal clowns.
Uutimately any production de-
pends, to an extraordinary de-
gree, upon the way in which these
three are interpreted. Upon these
rocks Mr. Baldridge encounters
shipwreck. Beatrice, for all Miss
Marchand's charm and beauty, is
a failure-a failure in emphasis.
The tears and the intelligence
which ought to underlie the vivaci-
ty take cover. Seriousness would
not be out of place in Beatrice's
character but sentimentality and
self-pity are.
Miss Marchand's obvious skills
as an actress have been perverted;
her Beatrice has slipped over into
limbo; director and actress are
to be blamed for not have taken
a better hold.
Less blatantly, the same thing is
true of Mr. Rabb's Benedict. He is
a very melancholy bachelor whose
wit is heavy rather than light.
One of the glaring consequences
of these defects occurs when eith-
er Beatrice or Benedict leaves the
stage. The other characters in
their references seem to be talking
about people we have never seen.
The basic fault is that neither this
Beatrice nor this Benedict has a
sense of humor; hence, the cru-
cial point-the way in which each
is, ironically, deceived into true
love-loses its punch. They are
handsome puppets, not full and
clever characters.
BUT FOR ME the worst of all
was Dogberry. I have always main-
tained that the one inconceiv-
able Shakespearean characteriza-
tion would be an unfunny Dog-
berry (or Bottom, for that mat-
ter).
Well, that illusion has been shat-
tered. Mr. Bird is all bluster and
no humanity. Again we have a
form of sentimentality-petulance
-and it's an inadequate substitute
for the real thing, which Dogberry
was, a man to be laughed at surely
for his pretense but to be loved
also for "his losses" and his in-
domitable innocence.
* * *.
THIS IS A professional produc-
tion. Which means that singers
sing well, actors dance with grace,
many parts are played with com-
petence (Mr. Walker's Don Pedro,
Mr. Woods' Leonato, Miss Far-
rand's Hero). But it is just this
HE PREMIER of "Much Ado about
Nothing" was a scene of glamor and
eitement-at least for this town where
eed is more the rule than tux. Digni-
ies abounded and both Trueblood Aud.
d the League Ballroom had the aura
a Broadway opening.t
EIowever, if the University continues to
;port a theatre of professional stature,
commodations for it should be signifi-
ntly improved-from the standpoint of
e audience, the cast, the production
,ff and other theatre and music groups.
B ANN ARBOR continues its sky-
rocketing cultural renaissance, a new
eatre would relieve several problems.
esently, Hill Aud., Lydia Mendelssohn
eatre, Trueblood Aud., and Rackham
used for theatrical and musical pro-
ctions.
[hey are shared by the University Mus-
1 Society, University Players, Ann Ar-
Editorial Staff
RONALD WILTON, Editor'
AVID MARCUS GERALD STORCH
ditorial Director City Editor
IARA LAZARUS............Personnel Director
:LIP SUTIN .......... National Concerns Editor
L EVANS ................ Associate City Editor
RJORIE BRAHMS ..... Associate Editorial Director
7RIA BOWLES ................... Magazine Editor
LINDA BERRY...............Contributing Editor
E GOOD.......................Sports Editor
E BLOCK. ........Associate Sports Editor
BERGER .............rAssociate Sports Editor
3 ZWINCK........... Contributing Sports Editor
bor Civic Theatre, the Drama Season,
faculty musical performances and stu-
dent productions such as MUSKET and
Gilbert and Sullivan.
LAST YEAR there was somewhat of a
struggle as to who had what rights
over which theatre and when. Certain
theatres are preferable to others for cer-
tain types of productions. For example,
the Association of Producing Artists re-
linquished Mendelssohn since the student
productions such as Soph Show needed an
orchestra pit, which Mendelssohn and not
Trueblood has.
OUR CULTURAL RENAISSANCE is too
good and too valuable to be risked.
When the APA originally agreed to come
to Ann Arbor, it was with the understand-
ing that it would not have a theatre of its
own--unlike the Tyrone Guthrie company
at the University of Minnesota, which has
its own theatre.
This is understandable: with the given
financial situation of, the University, a
promise of a new theatre would be pre-
mature. Also, there was no guarantee that
this experiment in regional theatre would
work out.
But it has worked out and quite well.
Moreover, the cultural scene generally is
thriving in Ann Arbor. Now is the time to
erect a stone monument to it-in the
form of a new theatre which the profes-
sional company could use as could stu-
dent and other groups, thus relieving
pressure on the existing theatres.
N THE UNIVERSITY'S Buildings Under
HE EXTRA SERIES of the
University Musical Society
commenced last evening with a
presentation of puccini's opera
"Tosca" by the Goldovsky Grand
Opera Theater. Ann Arbor was
privileged to experience the per-
formance under the direction of
this company's founder and ar-
tistic director, Boris Goldovsky.
Outstanding in }their roles were
Josephine Busalusalacchi (so-
prano) as Tosca and Benjamin
Rason Rayson (bass) as Scarpia.
Miss Busalusalacchi displayed a
rich, clear and dramatic voice
which proved more than adequate
"Small World, Isn't It?"
j .
\ T
-1.
a'4
3(r
to cope with the wide range de-
manded by her part.
Her rendering of "Vissi D'arte,"
perhaps the most famous aria in
the opera, exemplifies her out-
standing technique. Augmenting
her fine voice was her dynamic,
well-controlled dramatic ability
and stage presence.
* * *
RAYSON'S VOICE, a fortitud-
inous bass, was appropriate for the
role of Baron Scarpia, clandestine
chief of the Roman police. It eas-
ily filled Hill Aud. and blended
well with that of Miss.Busalusa-
lacchi; this was especially vital
in the dialogue in Act II.
Dean Wilder, who sang the role
of the artist Mario Cavaradossi,
has a powerful tenor voice, but
tended to muffle the tone in the
higher tessitura of his voice. His
muddy sound was especially ap-
parent when contrasted with that
of the other principals. His dra-
matic ability leaves something to
be desired.
THAT PUCCINI had a good
sense of writing for the theater
is evidenced in "Tosca." He always
knew just what he wanted, both
musically and dramatically, to
achieve his desired result and per-
sisted until he achieved the re-
sult.
In the final scene of Act I he
displayed effective use of counter-
point between Scarpia soliloquiz-
ing about his love for Tosca and
the chorus singing "Te Deum,"
two simultaneous actions super-
imposed upon each other, each
heightening the impact of the
other.
Effective use of off-stage sing-
ing and dramatic action stimulates
I.
II
k
I
t