THE MICHIGAN DAILY
Page Three
THE MiCHIGAN DAILY Poge' Three
stir
'cii promote
fered. Each day was ended states "in an experiment there's
with an intense critique session no such thing as failure."
led by the Festival's critics, However, in the first critique
Martin Esslin, Robert Sorrigan session this was not stressed.
and Richard Schechner. P-+ -
7
free
By MICHELE BECKER
At 3:00 a.m. Monday, the last
people straggled out of the
Frieze Building into the cold
morning. The first annual Invita-
tion Festival of Experimental
Theatre was over.
The Festival began at 3:00 p.m.
Friday afternoon and ran
through Monday morning. Dur-
ing that period, 12 shows, two
workshops and one film were of-
A "Parade" down the hall-
way of the Frieze opened the
Festival. It was followed by
Swathmore's "Public Utilities",
Albion's "Knots" and a film by
the "Once Group." In a line
from "Public Utilities" an actor
Corrigan opened tie discussion
by saying, "I did not sense great
exploration of the possibilities of
the theatre, rather I saw a com-
bination of concrete art and old
interpretive dance." Esslin sup-
ported the statement. "It wasn't
experimental theatre at all, it
was traditional theatre."
He went on to state that
some people thought experimen-
tal theatre "is walking like
Frankenstein's monster."
Schechner supported his col-
leagues and discussed society's
role in experimental theatre. He
raised concern for today's stu-
dents who had grown up in what
he .calls the "sexual, political
revolution." "How can we have
an art that is experimental, that
says something about our lives
and that makes no promises, for
you're a generation that were
made many promises that were
never kept."
The activities resumed at ten
Saturday morning with "Now
Playing, Playing Now", Illinois
Wesleyan University. Body Poli-
tics from Chicago conducted a
workshop, Kansas State did their
version of Cinderella "The Last
Glow of Firelight," "Journey"
was presented by the University
of Michigan Jazz Theatre, Oak-
land University per-
formed "Brainwash" and Body
Politics ended the day with "Five
Dream-Stories."
There was definitely a lack of He said one of the things he
respect for people's right to thought should be changed in the
state their opinions. A bat flying Festival is "to eliminate the cri-
around Trueblood completed the tics. Criticism is one of the most
feeling of tension arising in the destructive forces in experimen-
theatre. And again, at approxi- tal theatre. Negative criticism is
mately one a.m. the festival par- an immoral force, it takes the
ticipants left Trueblood to con- energy we have to create."
tinue informally and the bat had Esslin began to debate Kirby,
the peace of the theatre to itself. "if you renounce the right of
The final day of the Festival criticism you're on the road to
presented "Lucifer" performed Facism." Kirby argued back
by Ohio State University," a Sun- that there is "a way to deal with
day Newspaper workshop with theatre that doesn't deal with
students from Knoxville, Tennes- value judgements."
see, Antioch's "Show me a Good Observers and participants in
Loser and I'll Show you a Los- the Festival were on the whole
er," "A Touch of Mime," "Round very positive towards the event
is a Hole" and Grinnel's "But and felt strongly it should con-
This is Not War." tinue. One spectator from Brook-
The final critique session be- lyn, New York called the Festi-
gan with a great deal of reitera- val "faster than most begin-
tion of the past two sessions. nmgs."
Then Schechner hit upon a rele- A visitor from Muncie, Indiana
vant subject that had only been called it "tremendous" and some
briefly mentioned previously. He participants from Illinois Wes-
began by saying that if someone leyan felt "it was a wonderful
asked him if he had been to an experience."
experimental theatre festival he Esslin said the Festival was
would answer "no I did not see "well worth while. By the very
one, I saw what universities are fact it generated criticism to-
doing, some of it was good and wards the university it shows
,yY_. ."'tCAR \ i TS " C " l V C l ^Y C/ '_Y " . \i
Photo by RICHARD LEE
ChicagoBody Politics
Photo by RICHARD LEE
"Three wise men from the east"
(. to r.) Richard Schnechner, Robert Corrigan and Martin Esslin
Black Sa bbathoffers
Ine w, -mellow12~er i mage
The second critique session
was again led off by Corrigan
who began by saying that the
criticism of the night before was
"directed in the wrong places."
He referred to himself, Esslin
and Schechner as the "three wise
men from the East who say it's
no good."
Esslin agreed with Corrigan,
but he further stated "to let illu-
sions grow in the theatre is bad
for the artists and the art."
There seemed to be a tension
within the audience. One man
complained about the "three wise
men's" blanket criticism. The
audience rallied to the critic's
support and booed the man. He
became very angry and walked
out.
some of it wasn't."
He went on talking about uni-
versities with increased vehe-
mence, "if the universities don't
teach you the theatre of the last
S0 years then they're fucking
you over, but bad . . . they
should spend three weeks on an-
cient drama in introductory
courses and terms on, modern
drama. As it is now you have
to wait till you're a PhD. student
to study modern theatre and by
then your head is all messed up."
At about one a.m. Trueblood
had to be left because of regula-
tion but interest was so intense
that the session continued in an-
other room. Here Michael Kirby,
editor of Tulane Drama Review
spoke.
that the university is moving in
the right direction."
if
you"
By GLORIA JANE SMITH
Black Sabbath hit Ypsilanti
last weekend. I wasn't able to be
there, but judging from what the
group told me later that evening
in their hotel room, I didn't
miss much.
The, light crew was off cue.
The sound system had a notice-
al' buzz. And the audience was
taie. Not their best perform-
ance.
Black Sabbath doesn't usually
do college gigs. Winding down
this month - long tour of Ameri-
can cities (which included De-
troit), they thought Ypsilanti
would be an interesting "experi-
ment." It was. Leave it at that.
Since the group first signed
with Warner Brothers in 1970, the
name Black Sabbath has come
to mean lots of things, most of
which add up to grim lyrics and
loud, powerful sounds.
Whatever their formula, they
have managed to consistently
rank their albums gold. A plus
for Warner Brothers and a fact
for critics to contend with.
In spite of their success .
and perhaps the very reason for
their success . . . members Ozzy
Osbourne (vocals), Tony Iommi
ART 1
ENDS THURSDAY
"Behind the
Green Door"
guitar), Geezer Butler (bass)
and Bill Ward (drums) have
been unable to shake their dis-
tinction as a "downer" band.
Their lyrics were down-right
depressing and their music was
above all else extremely high in
decibel level.
On their recent lp Sabbath
Bloody Sabbath they've mellowed
considerably. "We're at a stage
now where we want to be more
serious," Bill explained. "more
understood, make the interpreta-
tion clearer."
They emerged as musicians
from the streets of Aston, an in-
ner city area of Birmingham,
England and first called them-
selves Earth, but later adopted
the name Black Sabbath from a
British horror flick starring Boris
Karloff.
In the eyes of the public, this
name immediately linked the
group with Satanism.
At one time, they capitalized
on the image, even performed a
black mass on stage. They have
since denied any serious affilia-
tions with the devil.
Speaking for the band about
this confusion, Bill said that he
"might not comment on it. It
(black magic) exists. Period.
Everything comes in twos. Ev-
erything throughout the earth
has a positive and a negative,
bad and good, south and north."
Musically, the band sees itself
as "good." To ask for a more
detailed description, would be
"likeaskingtsomeone, how do
you feel about your blood?"
None of the group's four mem-
bers have had any formal musi-
cal training. Bill said that, he
"doesn't believe in it . . . pro-
fessional training and natural
music. Professional training rubs
out natural inhibitions. Music is
a natural thing in everyone's
heart."
"The band is just four guys
with a lot of love. Family men.
We just want to carry on."
Their philosophy is simple:
"The only basic thing anybody
can achieve is to be fuckin' hap-
py, man. It's no good being a
scientist or anything else or try-
ing to change it all around.
We're only here for a short time.
The best thing to do is to enjoy
it while you have it."
"We're happy, man," Bill con-
cluded. T h e w o r d s echoed
throughout the room as other
voices chimed in in agreement.
Sunseed proclaims
new spiritual age'
THE MICHIGAN DAILY rated X
Volume LXXXIV, Number 124 rated X
Wednesday, February 27, 1974
is edited and managed by students at seT
the University of Michigan. News phone
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"SI L ENT COMEDY CLASSICS
COMEDY SH ORTScat 6:30)
A program of early comedy shorts by Chaplin, Keaton, Lloyd, and Langdon.
THE GENERAL (at 8:30&10:15)
Keaton's masterpiece is definitely one of the top ten comedy films of all .time. A
southern engineer takes on the Union Army and comes out, through his own
faults, the winner.
Thursday: DER UNTERTAN
\ idARCHITECTURE
S cinema$1 each show AUDITORIUM
0 _ IL.... Elm
By MARGARET COFFEY
,Dealing with the American fol-
lowers of Far Eastern religions,
the film Sunseed is strangely
reminiscient of Woodstock.
Once again gaily-clothed young
people dance in the fields and
sing songs of peace; once again
the dawning of a "New Age"
is predicted.
Sunseed (which is being shown
through Saturday at Lydia Men-
delssohn theatre) is partly a doc-
umentary and partly an attempt
"to help open your inner aware-
ness." For the uninitiated the
documentary segments are the
most enjoyable.
Interviews with proiinent re-
ligious figures in India and Ne-
pal open the picture: they are
asked how Americans can at-
tain enlightenment.
Their responses as well as a
skillfully blended montage of re-
ligious ceremonies, landscapes,
scenes and faces convey a sense
of thetEast and the spiritualism
that the film assumes stems
from there.
When the film shifts from the
East to show American disci-
ples at home, the effort to make
the story an awakening becomes
more pronounced.
The meaning of the title of the
film becomes clear. The Sufi
school the faithful have estab-
lished, it is hoped, will act as a
seed.
However, this part of the film
tends to drag. Although some of
the leaders are interesting char-
acters, their segments are offset
by too many dancing scenes, too
many green fields, and too many
close-ups of happy faces.
For those who are followers of
the movement Sunseed is a ful-
filling experience. Such people
return to see it time and time
again.
For others it is an interesting,
if something drawn-out experi-
ence of the world of those who
find their spiritual guidance in
the East.
ATTENTION
ADVERTISERS
# Add radio to
your promotional
campaigns
--650 AM
broadcasting to students
only. Try us at
763-3501
Miracles remembered
By CHUCK BLOOM
There is music that is unique
to Detroit.
It grew from a local label to
the second largest recording com-
pany in the world. To a Detroit-
er, the words "Motown" and the
"Motown Sound" signify the
Motor City as much as the word
"homicide."
Even though Motou
ed its bags and head
California, it leave
wealth of great mu
collection can be f
thology-Smokey R
the. Miracles (Motow
Of all the superlat
DELIVERY
PROBLEMS?
the Motown stables, three stand
wn has pack- heads above the crowd-Diana
ed for sunny Ross and the Supremes, the
s behind a Temptations, and Smokey Robin-
asic. Such a son and the Miracles. Of the
ound in An- three, it was Smokey who was
obinsonr and the most talented.
vn M793R3). He wrote some of the finest love
ive artists in songs of the 60's, all of which
are embodied in this three-disc
collection. Classics like "Shop
Around," "Mickey's IIonkey,"
"Going to a Go Go,' "The Tracks
of My Tears," "Ooo Baby Baby,"
"The Love I Saw in You Was
Just a Mirage," "More Love,"
"The Tears of a Clown"-they are
all here, done as only Smokey
can do it.
This is the third such Miracles
anthology, but they are all the
same-this is just the cheapest.
In any case, this is a collection
of memories. I remember the
night with Julie and . ..
Join The Daily Staff
Phone 764-0558
I
Our Head Carrier
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Tuesday through Saturday--9--1
764-0558
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a.m.
CLASSES IN
-Ai-IA YOGA
AND RELATED EXERCISES
NEW CLASS STARTING
People! Music! Food!
BACH CLUB
PRESENTS
Stan BAPTISTA, trumpet
1st chair, University philarmonia!
Barbara FAYROIAN, viola
Randy BLOUSE, piano
PERFORMING
BACH: Sonata No. 2 in
D, for viola and piano
HUMMEL: Concerto in
E flat for trumpet
TORELLI: Concerto in D
for trumpet
1
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as