i 6
Pog. 6.-Thursday, February 22, 1979-The Michigan Daily
Poetry Reading
with
Deborah Dudley and M.A. Gunsaulus
reading from their works
THU RS. FEB. 22-7:30 p.m.
Peking Opera rare treat
GUILD HOUSE, 802
Admission Free
Monroe
I
I
Special
Attraction
Windom in,
AN EVEN ING "J
iF THURBER
'OWER CENTER t
UN. F EB. 25, 7:00
,Mkets are available at:
he Michigan League, 764-0450
ours: 10-1 and 2-5 weekdays
land all Hudson Ticket Outlets
I
4
-
-ug0m a 4t
Saturday, February 24, 8 p.m.
Louis Nagel, piano
cpu l Ptno dAugt
including works by
Tchaikovsky, Rachmaninoff, Scriabin,
Balakirev, and Mussorgsky
Sunday, February 25, 4 p.m.
Marilyn Krimm, soprano
Rosemary Russell, mezzo soprano
John McCollum, tenor
Willis Patterson, bass
Nancy Hodge, piano
Richmond Browne, piano
including works by
Mussorgsky, Stravinsky, Rachmaninoff,
and Shostakovitch
Admission for both concerts complimentary
By DAVID LEWIS
The theatrical traditions of China are
among the richest and most
sophisticated in the world. But at the
same time their basic precepts are so
different from those that have
dominated Western theater over the
last century that they have come in for
little scrutiny in recent years, and for
even less understanding.
Chinese actress Hu Hung-yen's three
person show, Aspects of Peking Opera
presented Tuesday evening in
Rackham Auditorium, is a bold effort to
rectify this situation. In the two-hour
pesentation Hu demonstrates the
elaborate makeup, the stylized mime
and haunting music that characterizes
what has come to be known as China's
most representative dramatic form.
THE PEKING Opera came into
existence a thousand years ago, but
reached its prime only at the end of the
18th century. A tightly-coordinated
mixture of dance, mime, song and
musical accompaniment, it resembles
Western opera in concept but differs
totally in detail. Music is provided by
two separate groups of instruments,
one percussion, one wind and string.
Both music and song are in unison,
without harmony. Singing style denotes
character types, so that one could large
ly follow the plot with one's eyes closed.
In the Opera, there is little charac-
terization as known in the Western
realistic tradition of acting. Costume
and makeup denote character types,
and there are set movement patterns
for each of these characters. A pure
black face denotes a man of loyalty and
integrity: a pure white face, a
treacherous person. Villains are made
up with grotesque stripes and patterns
on their face. Movements, be they the
gait of a man or woman or the
remarkably complicated act of looking
T hsSpace contr buted by the pubsher
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Chinese dancer Hu Hung-Yen, who is featured with the Peking Opera.
at the ground, are stylized and
exaggerated, a tradition that continues
to this day even in such revolutionary
productions from the People's Republic
of China as The White-Haired Girl and
The East is Red.
LYING BEHIND many of these
distinctive traits is the opera's history.
At one time either all-male or all-
female troops were the rule, and the
elaborate makeup and movements
helped support the illusion of female or
male characters. Deriving from folk
art traditions, Peking Opera was per-
formed out of doors, and required both
the enlarged gestures and heightened
voice patterns to reach its audience.
Even today, when the female, imper-
sonator is no more, and Peking Opera is
performed in theaters, the practices
developed in an earlier age continue to
shape and color performance practice.
Hu Hung-yen has the highest
qualifications for presenting these
aspects of the Peking Opera to a
Western audience. Beginning her opera
training at the age of eight in Peking,
she studied at the Nanking Chinese
Opera School before leaving for Hong
Kong in 1949. She became a leading
soloist of a Hong Kong troupe and ran
her own opera school. Coming to the
U.S. in 1961, she has performed in most
major American cities, and several
years ago staged a successful produc-
tion of The Butterfly Dream in New
York. She is the only professional
Peking Opera actress in America, and
one of only a handful left outside of
China itself.
The small and demure Hu had no
trouble holding her audience's attention.
during her demonstrations of makeup
and mime techniques and her perfor-
mance of famous scenes from the
Peking Opera repertory. She was ac-
companied by Chang Tsuan-nien and
Ng Hak-fan on a variety of horizontal
flutes, stringed instruments and the
"sheng" 17-pipe mouth organ. The only
flaw in the show was the inept clearing
of the stage between numbers. With
stage settings limited to a chair and
table in this mime tradition, one would
have expected the sponsors to have
done a better job at their end. But this
was, in the end, only a small disruption
in an otherwise entertaining and in-
structive evening of one of the world's
great theater traditions.
I
Proposed cheating rules revised,
(Continued from Page 1)
patience is now at an end... I do not
wish the discussion continued. The
discussion is now ended," Bardwick
said.
When Solomon called for avote on the
proposal, Bardwick refused to allow
one.
"This group operates on the basis of
consensus, which is why I keep asking
for comment," Bardwick explained
later. Bardwick called the faculty code
requirement that a vote be taken "a
legalism which constructs certain ad-
versarial stances. The committee
operates better if you don't let the
discussion stop, which is what a vote
does," she said.
THE BOARD also added a clause in
the current manual to the proposal. The
clause, adopted at Friedman's urging,
reads:
"Under no circumstances will the
Judiciary issue, condone or recom-
mend the issuance of arbitrary grades.
In instances in which it is found that the
faculty complainant has levied some
penalty in addition to that prescribed
by the Judiciary, the Judiciary reser-
ves the right to rescind or modify its
original penalty."
"I was concerned that a student
would be punished greater than the
Judiciary had intended," Friedman
explained. "This is a mechanism that
insures that won't occur."
Friedman explained that a student
found guilty of cheating might also
receive a failing grade from a
professor. Because students have little
prospect of getting a grade changedIif~a
professor refuses to do so, the clause
allows the student to seek a lessening of
his other punishment.
The Judiciary also clarified a rule
calling for the expulsion of a student
found guilty of "a second offense." The
code now mandates expulsion for
students "found guilty twice of offenses
serious enough to result in suspension."
Suspension is levied for "serious acts of
plagiarism or falsification of data.
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Abehseraspeaks on simple lifestyles
(Continued from Page t) Abehsera attacked the quality of cer- Abehsera also said that one prob
THE MACROBIOTIC movement tain foods, especially sugar, which he with American society today is
ts to stop world hunger," he said, said causes psychological disorders over-emphasis on words. His view h
t the macrobiotic movement wants and nervousness. Abehsera, whose that "you should speak only when
ot ith foomacrobiotic sn wands book on marcrobiotic cooking has come are asked."
o it with food."' Macrobiotics and. out in pprak cited the "old Chinese Abesrasocnnulyw
-ld government, Abehsera main- oti paperback, ctdte"l hns Abehsera also continually wai
ed, should not be linked to world axiom which blames nervousness on about the danger of cults and "gur
,,,- - 1.j natia sugar in the intestines.'? He linked the success of various g
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government. worl oeneti
utopia. It can't be done," he replied.
"World government is a beautiful
idea," Abehsera conceded. "But it
doesn't include me-I have practical
ideas."
CONTINUING TO expound on man's
spiritual characteristics, Abehsera said
there is an advantage in traits such as
naivete. "Sometimes it's better to be an
idiot than to always see," he counseled.
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to the fact that "people become
overeaters of the spirit."
Much of Abehsera's speech concer-
ned a person's relationship to goals and'
abilities. "When a person in our society
has an ability, he uses it," he
proclaimed. "That's an idle notion -
you can't cash in on one thing."
In his view, people achieve by
"squeezing" and he referred to working
toward any goal as a "bigsqueeze."
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