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Editorials printed in The Michigan Daily express the individual opinions of staff writers
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AY, OCTOBER 29, 1963
NIGHT EDITOR: EDWARD HERSTEIN
DAC Parade Utilizes
Senseless Means
HE DIRECT ACTION Committee de-,
scended upon the Administration
Building yesterday. They paraded in a
circle around the front of the building for
about an hour. Their complaint: no Ne-
grops working in the building.
When this "picket" was announced a
month ago it was supposed to include 150
DAC members, Black Muslims, a Detroit
)rganization called Uhuru and "several
housand men from the Washtenaw
County area." This battalion, reduced to
30 sheepish marchers, demanded "Jobs or
Mobs."
THE MINIATURE MOB happens to be
wrong on two counts:
-The University is very concerned with
h overall problem of the Negro's role in
higher education and has taken a number
)f ,significant steps in this area lately.
rust one week ago yesterday a joint pro-
;ram with Tuskegee Institute was an-
aounced which will include both student
ind faculty exchanges and the training
f potential Tuskegee faculty at the Uni-
rersity.
--The University has no discriminatory
iiring policies. Figures as of February
how that over 1,000 of the University's
.0,000 employes are Negroes. These figures
nclude personnel in the Administration
3uilding.
WHILE THE UNWERSITY would be the
first to admit that all is not perfect-
here aren't many Negroes in the higher
chelons-the above figures don't pro-
ride evidence of bigotry.
Moreoverthe problem of upper staff
firing becomes very complex. Negroes
vith the qualifications and training to
ill these jobs, when they become vacant,
,re scarce.
DAC has made no attempt to discuss its
omplaints with the University officials
involved. It has presented no specific
cases of discriminatory hiring. Why? The
group is far more interested in headlines
than facts.
This, then, is not a criticism of fair
hiring campaigns per se. It is a criticism
of DAC's "campaign" because that cam-
paign takes no cognizance of the real sit-
uation. Indeed, the ygroup seems con-
sciously determined to ignore reality. l
Both DAC and its dreary-eyed leader,
Charles Thomas, Jr., have been dealt with
in these columns before. They are little
more than a bunch of pseudo-crusaders.
The group is primarily stocked with
whites-the "picket" had 18 of them to 12
Negroes. Most of the members are non-
students.
The group has totally reversed the hat-
ed saying "White means right." To DAC,
"Black means right." Its members are
ever ready to vent their frustrations with
fury ("We shall overcome with guns,"
Thomas once said).
THOMAS has threatened to return to
the Administration Building next
month with "several thousands demon-
strators." At that time he proposes to en-
ter the building and stage "a sit-in or
walk-in, whatever you want to call it."
There are those who think Thomas
could carry out -this threat by mobilizing
Ann Arbor's Negro ghetto, though yester-
day gave no such indication.
Before he sets out on this next folly,
Thomas should at least try to communi-
cate with those in the administration re-
sponsible for hiring policy. Perhaps he
would learn something.
THERE IS LITTLE SENSE dealing fur-
ther with DAC. It is a sick group
spawned by a sick society. It is evidence of
a deep problem, but it has no answers.
-H. NEIL BERKSON
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LETTERS TO THE EDITOR:
APA and the Academic Community
THE LIAISON:
Nobody Showed Up
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To the Editor:
SINCE I FOUND myself in con-
siderable agreement with Mr.
Rabb's stimulating letter; I must
clarify the points, of view which
remain in disagreement. My re-
marks are concerned with the
production of Shakespeare, in
which Mr. Baldridge's direction
represent a common failing. My
enthusiasm for APA is great, the
acting of the company is con-
sistently superb and the ensemble
rare. My critical "attitude," both
positive and negative, compels me
to do APA the honor of taking it
seriously. Not for a moment do I
deny the right of a director to
make a fool of himself; nor do I
deny myself the right to point out
the inanities of a Shakespearian
production. No artistic censorship,'
but only censureship! I object to
what, under the aegis of experi-
mentation, is a transparent "for-
mula for success" in the most lim-
ited sense o making any contro-
versy at all. Those who approve
such reworking of Shakespeare
are often fundamentally ignorant
of other possibilities, and those
who object might wish for a great-
er originality.
At Stratford, Canada, this sum-
mer, I overheard a remark about
"The Comedy of Errors": "it's so
Elizabethan it hurts." Yes! This
production muffed the brilliant
vulgarities essential to this and
almost every play and made farce
out of comedy. The Stratford au-
dience was cheated in typical fash-
ion. For when in doubt, directors
play for laughs, invent stage busi-
ness to decoy attention, whereby
the deeper laughter of great come-
dy is traded for trivia. It is easy
to make an audience laugh; even
the tragedies can be made into
farce.
* * *
THE "SOUPING UP" of Shakes-
peare is an evasion. I am seldom
convinced thatdirectors fully un-
derstand the meaning of the lines
they cut because they are so often
essential to the play. The whole
point is that the language states
and communicates complexly the
meaning of the play. Again, "A
Midsummer-Night's Dream was a
brilliant exception to the fash-
ionable habit of ignoring the lines
which, after all, make the play,
express the "argument" which is
the drama. The clarity of "Dream"
was superb; one fairy evoked a
whole train. Not treating the fa-
mous speeches as arias brought
them back to the intelligible con.,
tinuity of the play. I have the feel-
ing that you are not really con-
vinced of the eminent success of
this production, Mr. Rabb (not
that this is the only way to do
Shakespeare). The outraged tradi-
tionalists had, for the first time,
seen the play that has always
been obfuscated by that "busi-
ness" of mere burlesque and ro-
manticizing. The really successful
production conceals its absolute
technical mastery so that the au-
dience experiences only the seam-
less dramatic movement of the
play.
Hamlet sums it up: "suit the
action to the word, and the word
BIHARI:
Inferior
Goulash
THE HUNGARIAN BALLET'S
"Bihari" was organized in an
effort to present the spirit of the
Hungarian people through a syn-
thesis of classical ballet with the
native folk dance. In this, it has
failed pitifully.
This failure becomes even more
regretable as every so often a
burst of stunning technique or
lilting native rhythm emerges to
entice the audience. But, on the
whole, instead of authenticity, the
carefully preserved classicism has
produced an atmosphere of con-
trived gaiety. Likewise, any major
approach toward the beauty of
the traditional ballet is success-
fully aborted by the "folk" in-
fluence.
* * *
NORA KOVACH and Istvan
Rabovsky, the stars and directors
of the company, were trained with
the Leningrad Ballet. They are,
without a doubt, among the fore-
most dancers of the free world.
Yet, only once, in a -distinctly
classical pas de deux, could they
show the exquisite technique that
marks them as extraordinary ar-
tists.
The remainder of the company
had the air of enterprising ama-
teur production. In fact, the gypsy
ensemble reminded me of the
playing in a second rate goulash
restaurant.
The only point at which their
original objective seemed close to
success was in a ballet, "Gypsy
Life," choreographed by Karoly
Barta. But then, again, it was
the delicate, and in this case,
sensuous, dancing of Kovach and
Rabovsky that carried the piece.
THE PERFORMANCE left me
with the impression that in an
attempt to be a flashy commercial
success, Miss Kovach and Rabov-
sky were wasting their unusual
talent.
-Gail Blumberg
AMERICA'S SOMETIMES confused ex-
periment in generosity is under heavy
attack and faces yet another "profound
reappraisal." Hopefully, a clear and effec-
ive policy can be worked out this time to
llow foreign aid to serve the world best.
The era of a large scale program seems
)ver as it loses congressional friends and
ts enemies call for a terminal d te. Some
f foreign aid's projects have done much
;ood. Its most striking success came in
he rebuilding of war-shattered Western
Europe. However, its aid to underdevelop-
d nations have met less success and its
Iilitary assistance programs have been
lamaging. The "reappraisal" ought to
rield a program with a minimum of poli-
;ical strings that will aid people in un-
lerdeveloped nations and the end of mili-
ary aid.
[N RECENT YEARS, foreign aid has
faced two major dilemmas-its some-
imes political nature and the misuse of
nilitary aid. Recent United States actions
ndicate that there are political "strings"
ittached to aid although its supporters
:laim there are not. The United States
1as suspended aid to the governments of
he Dominican Republic and Honduras
vhen military regimes seized power last
nonth. Similarly, to bring the recalci-
rant Diem regime in line, most of the
Inited States' aid programs were halted
n South Viet Nam.
Such actions, however justified, con-
lict with foreign aid's humanitarian
Editorial Sta4
RONALD WILTON, Editor
DAVID MARCUS GERALD STORCH
Editorial Director City Editor
ARBARA LAZARUS ........... Personnel Director
HILIP SUTIN...........National Concerns Editor
AIL EVANS...... ,.... ... Associate City Editor
[ARJORIE BRAHMS ..... Associate Editorial Director
LORIA BOWLES .............. Magazine Editor
[ALINDA BERRY...........contributing Editor
AvE GOOD...................Sports Editor
[IKE BLOCK...........Associate Sports Editor
'IM BERGER ....Associate Sports Editor
*B ZwINCK........... Contributing Sports Editor
principles. Further, major projects have
been undertakeh to bolster regimes the
United States favors and have not suc-
ceeded. Wherever possible, aid should be
free from political considerations and the
program's consequences should reach all
the people of the recipient countries. Such
a goal calls for more people-to-people
type programs such as the Peace Corps
and technical assistance.
MILITARY AID seems to result in ad-
verse consequences. United States
funds have, in large measure, reversed a
trend developing in the late 1950's away
from dictatorships in Latin America by
financially supporting the military. It has
encouraged the growth of the military in
a continent that has not fought an inter-
hemisphere war since the late 1930's. As
the United States would probably defend
the hemisphere from Communist attack,
this support has wastefully inflated the
Latin military and made it a threat to
democracy.
While Latin America is the most glar-
ingexample of misuse of foreign military
aid, United States supported armies have
seized the government of South Korea
and helped wreck the government of Laos.
Further, in the mid-1950's the United
States helped generate a Middle East
arms race by supplying weapons to both
Israel and the Arab states, often without
scrupulous neutrality,
THE FIGHT in the Senate to trim for-
eign aid is more sophisticated than in
the past. Sen. Wayne Morse, leading op-
ponent of the $4.2 billion aid request, is
not just an unsophisticated legislator
looking for a safe place to wield the econ-
omy ax. He is joined by other Senate lib-
erals in questioning aid policies. Morse's
point, somewhat buried in rhetoric about
saving money, is to eliminate embarrass-
ing political implications of aid, as in
South Viet Nam, and to halt military aid.
Congress, however, is not the place to
reappraise aid. Neither is a public rela-
tions front committee, like the Clay Com-
mittee. Congress is not equipped to make
such a study and committees of distin-
guished citizens picked to back the Presi-
to the action." The director's im-
agination serves to reveal the lum-
inous clarities of Shakespeare. A
director like Baldrdge has not
achieved the elementary recogni-
tion that Shakespeare's imagina-
tion is superior to his own, and it
is depressing to see a simplistic
imagination maul a subtle and
complex one. Hamlet on the
groundlings applies-such direc-
tion is "capable of nothing but in-
explicable dumb-shows and noise."
* * .
THAT EXPERIMENT in ' the
arts is good does not mean any
experiment is good; some should
be tried and rejected. It is mon-
strous that one should be bullied
into genuflection before any gim-
mick that pardons itself as origin-
ality. Baldspeare is not original;
anyone can do it; it is absolutely
the mode. "Merchant" and "Much
Ado" are Broadway conceptions of
Shakespeare, designed to appeal
indiscriminately.
The substitutions of silly fan-
cies for Shakespeare's fictions pa-
tronize an audience and express
contempt for its essential capacity
to imagine. If you make an audi-
ence listen,,you can shatter them
on a bare stage. "And let us, ciph-
eis to this great accompt,/ On
your imaginary forces work .
Think, when we talk of horses,
that you see them/ Printing their
proud hoofs i' the receiving earth"
(Henry V).
SHAKESPEARE'S audiences
must have been harder to please
than any modern one, which is
so often cowed by the very notion
of culture that it is gullible. Mr.
Baldridge chooses to delight in
shocking merely, a guaranteed and
easy solution, rather than educat-
ing, while the audience piously
applauds what a sixteenth cen-
tury audience would have howled
down. It is good that APA houses
are full; I am glad that when art
is not produced at least money is.
Shakespeare made both; the pos-
sibility still exists. One always has
an audience; the question is which
audience? What kind? Baldspeare
drives away as many as are at-
tracted.
"Merchant" as La Dolce Vita
was less tedious than "Much Ado"
(the Shylock was brilliant) but
finally confusing and palpably ab-
surd as an interpretation; isolat-
ed, interesting ideas were worth-
less because not integrated. The
play was made meaningless by de-
liberate destruction of its lines,
not only by freely moving speech-
es around but by wrecking the
complex tonalities, both harsh and
harmonious, of the verse by alter-
ing almost every line to destroy
the rhythm. To collapse the care-
ful modulations of prose and verse
in the plays is to proclaim ignor-
ance of Shakespearian drama
(Much Ado," mostly in prose, came
out like sentimental blank verse).
* * *
IN "MUCH ADO" the wit palls.
Think that the homonymic pun
of "merry" and "marry" in Shake-
spearian English exists precisely in
Midwestern vowels. The opportu-
nity is golden. The pun is one
clue to the thematic and dramatic
structure. "Merry" is not ironic
(check all the Elizabethan mean-
ings). To hear Beatrice bawling off
stage while on stage she is called
a "merry heart" or "a pleasant-
spirited lady" is absurd (see Fel-
heim review), and the actors on
stage must feel awkward. God
rest ye merry, gentlemen.
So Baldspeare is a "revelation"
to me, too, of how utterly the
play can be lost in the director's
infatuation with his own imagina-
tion instead of Shakespeare's.
Your subversive appeal to the
reaction of a limited part of a pos-
hible audience is exactly the argu-
ment of the Broadway producer
who reiets your meaningful ar-
WITH SHAKESPEARE, you are
in part tempted by Broadway's
evasion of a responsibility and
give me your own voice against
you. We value the same freedoms
and devote our all to the revela-
tions of the artistic imagination;
we both persuade and provoke and
educate; and we both ham and re-
sort to some gimmicks. Since I sit
at your feet to listen in the thea-
tre, I suppose I expect you to hear
me, especially when you ostensibly
seek a real and meaningful role
for the theatre in a university
community. At the theatre, I will-
ingly make myself an audience as
the actor seldom does to the point
of view I am defining. Theatre
people ought to realize that their
stereotypical image of an academ-
ic who expects his lectures to ma-
terialize on stage is itself aca-
demic, that imagination is not the
exclusive province of the actor,
and that the imaginative aca-
demic is embattled at the rear with,
scholarly bardolators and crack-
brained theorists, who are least
critical of Baldspeare because they
don't care about the theatre.
I do not have an accepted "con-
cept of the play"; I am not even
sure what it is; but I oppose lack
of a conception of a given play.
Stun me with clarity and illumi-
nation that I would be powerless
to deny, and not even what to, be-
cause my experience in the theatre
would contradict any criticism.
*' * *
ANYWAY, I insist on helping to
maintain your own professed
standard and ideal of theatre, If
APA willingly enters the academe,
it should expect to be engaged, and
should want to participate in the
intellectual and artistic dialog of
a university by listening and
learning just as it teaches and en-
lightens by dramatic production.
Our exchange of views is part of
what a university can be. Perhaps
we should envision a more sustainer
ed dialog (the panels before each
play last fall were a mere begin.
ning). You should teach, and sit,
in the classroom from time to
time and should invite the opin-
ions of my colleagues and me. I
am ready to listen, question, criti-
cize, praise, and finally to partici-
pate.
. -A. E. Friedmann
English Department
z
; .
4
SERMON IN REVIEW:
An Unpleasant Task
Well Fulfilled
LAST SUNDAY at First Presbyterian Church, I heard Mr. Malcolm
Brown undertake what most clergymen consider their most un-
pleasant annual homiletical task. He preached about money in the
Christian life, and he preached well.
Canvassing for budget subscription is an essential part of an
Ann Arbor autumn. The laity who visit church-members for pledges
think it only fair for the clergy to speak to the congregations in
support of the program. Frequently clergy are embarrassed to be asking
-indirectly-for their own financial support, and laymen are disgusted
by crass or irrational appeals.
They are told that they ought to give a tenth of 'their income to
the church and charity because 3000 years ago some Palestinian
shepherds and farmers presented a tenth of their herds and crops
at the temple of God, or ought to tithe because persons who do find
that they have mre money than those who don't.
* * * *
MR. BROWN, an associate pastor, preached well about money in
the Christian life because he preached about more than money. He
introduced his sermon by saying that persons desire mutually exclusive
things such as indulgence and good health, or laziness and success.
It is impossible to have both and necessary to perform the "chore"
of choosing between them.
Thereafter Mr. Brown spent most of his sermon explaining the
meaning and elaborating the implication of his text from the Sermon
on the Mount: "You cannot serve God and Mammon." The sermon
gave preeminence to the will of Jesus. It was the love of Jesus for
human beings that made him condemn the service of Mammon
(avarice or covetousness).
Mr. Brown was almost stern in face and voice as he energetically
enumerated the instances in which Jesus has seen "possessiveness"
prevent persons from entering the Kingdom of God. The attitude of
Jesus toward "possessiveness" was that of a mother toward the disease
that is taking the life of her child.
* * * *
CONTINUING his earnest, forceful exposition in the second
section of the sermon, Mr. Brown analyzed the service of Mammon
as an idolatry that bases its security upon wealth. Many, by discipline
and work, store up treasure and think that what they have acquired
is their own.
That is their mistake. The wealth is not their own. They have
it only as stewards to distribute it according to the will of God.
According to the Protestant ethic, we, by discipline and work, are not
to gain goods to hoard for ourselves, but to share with others, to
the glory of God.
As Mr. Brown came to the last section of the sermon, his visage
relaxed and his tone modulated. He confessed how hard it is for human
beings not to want highly advertised, unnecessary products.
Mr. Brown would have been even more helpful if he had considered
the apologists of our economy who speak as though it were a large
share of our "good citizenship" for us to be maximum consumers. Is
such "good citizenship" the "service of Mammon?" Mr. Brown did not
say, although he did acknowledge the tensions between our "way of
life" and the New Testament Christianity.
* * * *
MR. BROWN concluded his consideration of the difficulties of
faithful discipleship to Jesus through stewardship-our responsibility
to God for the use of our abilities and possessions-by saying our
giving must include giving of the self. For this purpose he used two
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