Page Two

THE MICHIGAN DAILY

Saturday, February 20, 1971%

Pcg w TEMCIGNDIYSaudy FburR2,171


Bach
By BARBARA WURMAN
and JANET FREY
Have you felt a need lately
for any of "the three necessities
of life: FOOD, SEX, and CLAS-
SICAL MUSIC?" Are you re-
gressed? Misanthropic? .-..
Friend, it sounds like you're ripe
for the Bach Club-the place to
meet interesting people.
"The Bach Club is an infor-
mal, weekly gathering of classi-
cal music-lovers representing all
levels of m u s i c a 1 ignorance,"
proclaims a typical Bach Club
handbill.
This phrase has come to de-
scribe the Bach Club's tenor as
surely as the infamous jelly-
donut has become its trademark.
Bach Club meetings consist of
live performances or lectures
concerning the music of Bach
or another classical composer,
followed by random socializing
and sparked by a surprisingly
sumptuous array of refresh-
ments (not just jellydonuts).
'Membership is open to the pub-
lic, and new members are en-
thusiastically invited.
At a typical meeting, held in
South Quad's west lounge, there
were about forty people sitting
around in comfortable chairs,
waiting for something to hap-
pen. Pretty soon it did-Randy
came in.
Randy Smith, a former math
teaching fellow and grad stu-
dent is president of the club.
Gangling, emaciated, with bushy

andi
black hair and facial foliage,
Smith's enigmatic smile gives
him the aspect of an Oriental
portentate. The history of the
Bach Club is tightly bound up
with Smith's own past, some-
times to his disadvantage.
As founder and perpetual
president, he expends seemingly
super-human energy for the
benefit of the club. "The Bach
Club helped me flunk out of
grad school," Smith admitted.
"In fact, the success of the Bach
Club coincided with my doing
less and less work, until about
two years ago, I did absolutely
no work at all, so I flunked out."
Smith started the prototype'
of the present Bach Club as an
undergraduate at the University
of Miami. When he arrived at
the University, he wrestled with
the perplexing problem that
confronts most students: how
to meet people and make friends.
"In an effort to meet people
I went to SDS meetings, Office
of Religious Affairs discussion
groups, and liberal religious
groups," Smith recalled. His di-
versified efforts to be extrovert-
ed met with minimal success.
"In a desperate moment, I re-
solved to start a Bach Club."
"I started the Bach Club be-
cause I wanted to meet people.
Now the whole thing is social.
The purpose of the program is
to attract a large number of
people so people can meet peo-
ple they like," Smith affirmed.
The Bach Club has undergone

randy
a gradual metamorphosis since
its inception in April, '67. At
first, Smith found himself the
center of a diminutive but de-
voted cult of classical music en-
thusiasts. Programs consisted of
listening to Bach records and
munching cookies. T o d a y, in-
creased attendances attest to
the sophistication of lectures,
live performances, and a minia-
ture gastronomical extravaganza
of refreshments.
The developmental turning
point occurred when Smith was
joined by two other molding
members of the Bach Club, Joe
Marcus and John Harvith. Mar-
cus, artistically inclined, de-
signed witty, imaginative posters
to advertise meetings, while
Harvith formed a Bach Club
ensemble to play music of Bach
and student composers.
Twenty-four official positions
compromise the Bach Club hi-
erarchy. "Every student at U of
M will be a Bach Club officer in
two and a half years," according
to the mathematical calculations
of a past poster. Official titles
include a Wet Cement Chair-
man, who has the enviable duty
of scrawling publicity for the
Bach Club in wet cement.
The members agree that even
if you don't know a thing about
music, you can certainly have a
good time at the Bach Club,
which is, as Randy says, "a
place where people enjoy them-
selves one way or another."

Encounter group: cure-all or nightmare?

(Continued from Page 1)
The Ark, a coffee-house just off:
campus has advertised for par-
ticipants for a T-group and an un-
known number of informal T-
groups take place in the dorms1
and among groups which form
themselves.
The methods and philosophy of
T-groups have advanced in two es-
sentially separate schools of
thought.
Lippitt, at the University's Cen-
ter for Research on the Utilization
of Scientific Knowledge, was at the
forefront of the growth of the
"Eastern School" of -thought.
In 1947, Lippitt was one of the
founders of the National Training
Laboratories in Bethel, Maine. The
original work was done with Basic {
Skilled Training Groups and this
term was later shortened to "T-a
groups".
The groups were based on the
belief that by freeing up com-
munication and creating an atmos-
phere of openness, the ability of
groups to work together in, achiev-
ing specific tasks could be en-
hanced.
The clinical build-up of knowl-
edge lasted for about four years.
according to Lippitt, and .at this
point some psychiatrists began to

see a linkage between group ef- functions of groups, however,
forts and therapy. which he says are often overlooked
"They saw in the intimate en- by those who see the "human po-
vironment of peers tremendously tential movement as the answer to
important therapeutic possibili- all one's problems".
ties," Lippitt explains. He explains that one function is
It was on the West Coast that the to encourage people to experiment
phrase "therapy for normals" was "with new ways of being wthrcut
coined and it was there that Carl what he calls the legitimate fear
Rogers. a well-known psychologist, of jeopardizing important relation-
first used the term "encounter ships in day-to-day life.
groups." Bron explains this function isI
The "West Coast" school of possible especially among strang-
thought, built primarily at Esalen ers, where participants know eacht
Institute in Big Sur. Calif., based other only in the group setting.
its goals more on release than on Ideally, for instance, the quiet
increasing group effectiveness. person has a chance to express
William Schutz, one of the emotion, the withdrawn person a
founders of Esalen and the author chance to express repressed anger
of the bestseller "Joy" saw the or the talkative person a chance
purpose of T-groups as the release to experiment with extended lis-
of inhibitions and hangups of in- tenng.
dividual personalities. "As a trainer," says Bron, "I
Most of the publicity about T- do as much as I can for myself and
groups which has spilled forth, in- for the group to allow us to ex-
cluding the popular movie "Bob, perience all aspects of ourselves
Carol, Ted & Alice", is based on including warmth andaloofness'
the West Coast T-group model and wanting to cry, to be alone or to be
it is around these groups that the affectionate.
myths about the "human potential The second goal of T-groups is
movement" have emerged. simply the process of receiving
Psychology Prof. Gary Bron, feedback from others on how one
who works with the Outreach T- f comes across, Bron says.
groups, points to two legitimate ent we affec titerds ihe T-ioup
can be a catalyst for bringing
closer correspondence between in-
1?r r~a: tention and effect.
"T-groups are not therapy" says
Grossman, despite their legitimate
" uses.
Bron laments this problem which
r/ uw re often plagues groups. "People go
in with incredibly high expecta-
The University of Michigan tions toachieve nirvana and it
Professional Theatre Program doesn't happen. They are angry,
(PTP) will produce the world disappointed and feel cheated."
premiere of Dennis J. Rear- Bron likens this illusory view of
don's new play, Siamese Con. the movement, to that of the pro-
nections, at Lydia Mendelssohn verbial "patent medicine."
Theatre March 16, through 21, According to leaders of the move-
announced Executive Director ment, the ideal "T-grouper" is a
Robert C. Schnitzer. well-adjusted person who appreci-
The 26-year-old author's re- ates constructive feedback in a de-
cent production The Happiness sire to find greater fulfillment.
Cage, won plaudits from the Lippitt adds that is is also a
New York critics at Joseph person "who needs and desires to
Papp's Public Theatre. "A ma- gain skills in interpersonal behav-
jor new dramatist" was the ver- ior and wants to better understand
dict of the New York press. He the processes of collective life."
is currently PTP's playwright- Out of similar desires, the func-
in-residence in Ann Arbor tion of Psychology 101 (since
wx~helva ha e wiv fa Camzau Van-

changed to Psychology 171 . was
changed in 1965.
In an effort to give students a
chance to experiment with experi-
ential rather than book lear'in.
the group of 35 teaching fellows in
the course arranged to allow stu-
dents to substitute for the one-nour
lecture a number of commuuity
and social action-oriented groups.
In 1969, when instructors ex-
pressed a desire to weave the ex-
periential learning more closely
with the classroom, Project Out-
reach became independent.
At about this time, a crisis oc-
curred over T-groups when a group
of clinical psychologists sensed a
laissez - faire" attitude concern-
ing group standards, selection and
accreditation.
Some students claimed that the
clinical judgement of T-group
leadership combined ignorance and
prejudice.
In response to these charges, a
commission, consisting of three
faculty and three student members,
was established by the psychology
department.
With regard to the major ques-
tion of "training standards," the
commission reported that leaders
first participate in a T-group as a
member, then observe a. group and
participate in an observer's semi-
nar, hold discussions with experi-
enced trainers and finally train
with a group leader of equal ability.
The commission concluded that
discussion sessions were "lively,
protracted and intelligent", stu-
dent trainers appeared receptive
even to critical comments on their
work by senior faculty members
and trainers were increasingly con-,
cerned with the possibility of.
pyschiatric emergencies arising.
The immediate controversy ap-
pears to have been solved, and
despite lingering doubts the move-
ment continues to grow.
As Grossman explains, "We!
speak to the needs of people to be
connected with each other as a
reaction to the impersonality of!
modern life."

"A master-
piece. A
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moving
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SUN.-all day-$2.00

14

Trash': Warhol tells it like it is

By GORMAN BEAUCHAMP
Sitting around a local coffee
emporium the other night, some
friends and I were playing the
film buff's favorite game of mak-
ing lists of the year's best mov-
ies. What w i t h Trauffaut's
L'Enfant Sauvage (my favorite),
Bergman's Passion of Anna,
Chabrol's This Man Must Die
and Costa-Garvas' The Confes-
sion, '71 was a vintage year for
foreign films; but pickins' were
slimmer among the homegrowns.
Husbands was interesting,
M*A*S*H was fun, but there is
only one American film I would
rank with the year's best, the
Warhol - Morrissey underground
saga, Trash.
,Let me confess all: I believe
Warhol to be one of the most ex-
citing, innovative, original film-
makers around. Yea, a genius.
Not everyone shares this view, of
course - more's the pity - but
even the most confirmed War-
holaphobe ought to give Trash a
try Jt is a brilliant, funny, sad,
and very true film. And, if it's
any assurancebto anyone, not
really directed by Warhol, but by
his long-time associate Paul Mor-
rissey. While Morrissey captures
the essence of the Warhol film
situation- flamboyantly crazed
uniques, like Viva or Taylor
Meade, carrying on in their in-
imitably improvised way - he
has incorporated it within a de-
veloping narrative (tells a story,
that is, a device most people
seem to find necessary to their
cinematic enjoyment.) Warhol's
films are deliberately static -
minimal - in the sense that the
camera seldom, if ever, moves
during a scene so that each one
develops wholly (within) itself
(some of his films have only two
or three scenes, some only one)
rather than one scene developing
or growing into the next. Mor-
rissey uses a more traditional
and dynamic approach; while
Trash is, by most standards, epi-
sodic, in nevertheless grows-ac-
cretes, as it were-narratively
and thematically. It tells a story.
The story it tells is of an erst-
while hustler, Joe (Joe Dalle-
sandro), so strung out on heroin
that he can no longer rise to the
occasions. Trash is a sort of se-
quel to an earlier Warhol-Morris-
sey work, Flesh, in which Joe's
pre-smack prowess is established
beyond all doubt-also a very
fine film). To feed his habit, Joe
has turned to burglary and
scrounging off Holly (Holly
Woodlawn, surely the greatest
name in films, herself an occa-
sional pusher to kids from Scars-
dale and a collector of trash-
finding use for things other peo-
ple have thrown away.
And this is what Trash is all
about: seeing the value in things
that have been tnrown away. In
this case, people. Discarded peo-
For the student body:
Genuine
Authentic
Navy
PEA COATS

pie, society's trash. To say that
the story is sordid is to say the
obvious. The beidermeier men-
tality will be outraged; you
wouldn't want to take your
mother. (At one New York show-
ing, a woman huffing out an-
nounced to those who chose to
remain, "You're all a bunch of
perverts.") But Trash is any-
thing but a sordid film. Rather
it is an honest, humane, often
funny, often grisly depiction of
life at the lower depths-an East
Village equivalent of Breughel or
Hogarth, a contemporary Rake's
Progress.
Morrissey never condescends
to his subjects (well almost
never: Holly's bit with the beer
bottle is both ugly and sensa-
tionally gratuitous) and thus
neversjudges them. Most film
makers who treat "freaky"
subjects can't, despite their best
attempts to be objective, non-
pejorative, escape presenting
them as freaks-as, for example,
in The Queen or Groupie. There
is always that sense of "the
other," like a travelogue on pyg-
mies. This kind of condescention
never mars a Warhol film-he's
freakier than thou, anyway-nor
does it mar Trash. While Joe
and Holly are hardly the kids
next door (depending, of course,
on where you live), they are peo-
ple, not just an up-tight society's
abstractions-junkie,pervert, or
what have you-but hurting, feel-
ing, desperately real people.
One doesn't pity them, eor like
them; one accepts them.
The funny, funky, gutsy honee-
ty of the characters and their
spur of the moment, whatever
comes to mind dialogue is excel-
lent, even in so contrived a scene
as Joe's abortive attempt to rob
Jane Forth's apartment. (The
only thing of value there is a
$300 rubber plant which he is oi-
fered but declines to tare. "Do
you rape women?" Jane asks.
"Yeah - sometimes," Joe mut-
ters. "Do you think you could
t*
IA

rape a woman on that couch over
there?") Dallesandro doesn't act
really, but then he doesn't have
to since he embodies with every
move that sultry, sulky monu-
mentally inarticulate inach ismo
that Brando, for example, tries
so hard to convey as Stanley Ko-
walski in Streetcar. Fortunately,
unlike poor Stanley, Joe never
has to refer to screwing as "get-
ting those colored lights going,"
Williams' tin-ear notion of how a
semi-skilled Polish laborer talks.
The difference between Dallesan-
dro and Brando, between Trash
and Streetcar-or most any other
depiction on stage or screen of
the "underside" of life-is the
difference between contrivances
and the real thing.
Good as Dallesandro is, how-
ever, the film, finally, belongs to
Holly. A transvestite with a hag-
gard face, great, protruding
teeth and a head like Medusa's,
there's no way to describe her
without giving the impression of
grotesquerie-which is wrong.
She is great, just great. Holly is
always trying desperately; try-
ing to salvage something of their
lives. Her hope that they can get
on welfare-Joe can get metho-
done treatment then and they can
adopt her sister's illegitimate
baby-is an ironically appropriate
version of the American success
dream which Holly refuses to
quit dreaming. Trash is just
trash, Joe says, but Holly won't
believe him. In her crazy, dotty
way - pathetically optimistic,
ever hopeful that things will get
better - Holly is an incorrigible
affirmer of life. In one scene, in
fact, with a halo of light burning
around her chaos of hair, she
looks like a saint. Trash, then,
is the real love story playing in
town and anyone whose film diet
will allow him to digest some-
thing a lot stronger than Segalish
sacchrine ought to see it.
208 W. HURON
TONIGHT
MAXX
9:30-1:30
Rent your
Roommate with
a Classified Ad

7
Music ant
World p,
By DONALD SOSIN
The University Symphony
Orchestra, under Joseph Blatt,
gave the premiere of Lamen for
Ignacio, by Sam Morgenstern,
Wednesday night in Hill Audi-
torium. The text, an elegy by
Muriel Greenspon, for whom the
Garcia Lorca, was sung by Mur-
iel Greenspon, for whom the
work was written.
The program made no men-
tion of its being a first per-
formance, and indeed, had one
not known this, one w ou1d
have thoguht it a much earlier
work. The vocal line was in
many places reminiscent of
Copland in his late 40's (Twelve
Poems of Emily Dickinson)
style, and from the standpoint
of material and stiructure o n e
did not get an impression of
great originality.
Anxiety was created in t h e
music through the use of tri-
tones and restles harmonic pro-
gressions, but while this creat-
ed dramatic effects, the Lament
was too deja entendu to give
this listener a positive reac-
tion.
Miss Greenspon, a mezzo-so-
prano from New York City
Opera, and a 1960 U of M
graduate, has a rich voice which
needs muhc refinement. In re-,
cent months the Medium has
been her mesage, not McLuh-
an's, but Menotti's, and ths may
have something to do with her
occasionaly harsh tone and an
unbecoming thick so u nd in
lower registers. But she spared
nothing in conveying the words
of Lorca (written for a bull-
fighter who was killed in the
ring).
The program included Web-
er's Freischutz Overtrue, Two
Nocturnes (Nuages and Fetes)
by Debussy, and Haydn's Mili-
tary Symphony. The orchestra,
in comparison to their lethar-
gic performance three weeks
ago, played with sparkle and was
a delight to hear.
- - - - - - -

r,

where ne wr ote zamese u
nections.
Broadway director Arth
Storch, who staged the succe
ful Owl and the Pussycat, T
Typist and The Tiger, will
rect Siamese Connections w i
setting and lighting by Jan
Tilton, designer of New Yc
hits Private Lives and Harv
Marcella Cisney, artistic4
rector of the PTP who select
Reardon as the 1970-71 resid
playwright, is currently in N
York working with Storch
casting for the new product
which will make its bow
Michigan with a cast of lead
Broadway players.

'on-
hur
ss-
rhe
di-
t h
mes
rk
vey.
di-
ted
ent
sew
on
ion
at
ing

NATIONAL ORNERAL
375 N. MAPLE RO..
769-1300
MON.-FRI.
7:15-9:00
SAT. -SUN.-2:00-3:40
5:25-7:15-9:10
*LI2

CINEMA I
Dial 'M' for Murder"
with GRACE KELLY, RAY MILLAND
directed by ALFRED HITCHCOCK
FRIDAY and SATURDAY 7, 9:05 p.m.

- PLUS -
"The Birthday Party"
with ROBERT SHAW
The film version of the Harold Pinter play .
FRIDAY and SATURDAY
SUNDAY 7

I

S1 p.m.
9 P.m.


I

"The Big Sleep," originally scheduled for this weekend,
will be shown by Cinema Guild later this semester.

1

IA
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FRODUMD9O
PETER


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NOW AT
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COtuMrA PCTtAFS A6RASPAR PRCOUCTIONS PESENT
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TONIGHTat 7, 9,& 11

An9 ( separate
udAEAgel. Hall admission
,~ GODIE *for each show)
-COMING MARCH 12, 13
4W COLOR-FromColmbiaPictures Bergman's Classic - "THE MAGICIAN"
I The Project Coinmunity
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Rosale IKE&.1IIA lElil EBiVLJ
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JEAN REDPATH
2 shows BLOCK TICKETS
121 il 7 & 9:30(25 or more for 7 only)
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ATTENTION

I

I

THE LORD CHAMBERLAIN'S
PLAYERS
AN EVENING OF
IRISH PLAYS

6 5-1enema
NOW 482-3300
YPSILANTI


r


. .1

"Rxush"I
Tickets:

University of Michigan Film Society (ARM) presents
another droll dollar double bill:


W.B. Yeats-"Purgatory"
Lady Gregory-"The
Rising of the Moon" and
"The Travelling Man"

9:00 p.m.
Joanna

in cinemascope & color
with Genevieve Waite
Don Sutherland
Calvin Lockhart


200h
at $1.00 each
(2 tickets per
person-no choice
of location)
ON SALE
11:30 to 12:0

PRESENTS
ISAAC STERN
VIOLINIST
in HILL AUDITORIUM
SUN., FEB. 21, 2:30
PROGRAM

IAj

"JOANNA DOESN'T SAY ANYTHING IMPORTANT, BUT IT IS RIGHT
OUT OF TODAY."-Saturday Review

.T 5

,,.n.. -

SONATA IN B-FLAT, K. 454

Mozart

11 I: U 1 1 :vv p.m. r. I I

Ii

V V1 ti.L ti ii ll +-)
... . .. r " r a a v n ww+N r . . ..w