Seventy-Third Year EDITED AND MANAGED E STUDENTS Of THE UNIVERSrrY OF MICHIGAN UNDER AUTHORTIY OF BOARD IN CONTROL OF STUDENT PUtLICATIONS e Opintons A eP STUDENT PUBLICATIONS BLDG., ANx AkoYL, MICH., PHONE NO 2-3241 uth Wu font/ aW- 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