ednesdoy, November 15, 1972

THE MICHIGAN DAILY

Page Three

Wednesdoy, November 15, 1972 THE MICHIGAN DAILY Page Three



You're Going To Be
Really MAD..
if you wait 'til the last minute to get
your seats for this Friday night's concert.
jmes taylor
So do it now: UNION 11-5:30 p.m.
a r cinem-

Coleman Barks:
resurrect the body
By WARREN ROSENBERG "Adams apple, he never said a
Poetry readings may be clas- word/ Just nodded," or "geni-
sified (if you're into this sort tals, the loaded question, the
of thing) in three ways: those slick answer." Barks feels that
readings that make you like the this sequence should have been
poet better, those that make you printed separately with many
like him worse, and those that blank pages at the end so that
put you to sleep. Coleman Barks' lovers can fill in their favorite
reading in the UGLI Multi- parts and exchange them.
purpose room yesterday can def- As the title The Juice implies,
initely be classified in the first Bark's poetry is much involved
category. Barks, a 35 year old with water-what it means in his
Assistant Professor of English at life and in ours. As a boy he
the University of Georgia, is an would swim in the Tennessee
endearing man who looks like a River, lie back with his ears in
cross between Dylan Thomas and the water, and realize that he
John Kennedy. As he read from could hear further than he could
his recently published collection see. He combines this reminis-
of poems, The Juice (Harper & cence with a recurring dream he
Row, 1972), he orchestrated our has had about a child falling
responses to certain lines by from a ledge in a poem called
drawing word pictures in the air "Choosing."
with his hands, and laughed as ... Alone on the shining surface
images he was familiar with took buoyed up with creatures
on new meanings-insnch a dangerous sleep



I FRSTRUNADUT MVES.

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STUDENT LABORATORY THEATER
"THE GOLDEN FLEECE"
a comedy by A. B. GURNEY
the Third Act of
"THE LITTLE FOXES"
The American Classic by LILLIAN HELLMAN
Arena Theater Frieze Bldg. 4:10 P.M.
(or earlier if the theater is filled)
WED. & THURS., NOV. 15 & 16
ADMISSION FREE

it works because it is so per-
fectly welded to his personal
vision. The poem "Sand" is a
clear example of his ability to
match image and feeling:
Ridges flowing out of time
back to seawater.
Snakeskin from a branch above
the road.
Honeycombs along the beach,
black rocks
years in the water
like bits of my own erotic brain
the children find.
... The only aubade I ever
sang
is this dream
that woke me in time to see a
dawn
and lament the ones I've slept
through.
. . . Dawn lifting
and opening a net
dripping jellies and seaweed.
... One vision leaves
and you wait for the next
here on the beach.
It took Barks fifteen minutes to
read the final poem in the read-
ing, which was inspired by Gal-
way Kinnel's, Book of Night-
mares. In the poem, called "New
Worlds," we follow the poet as
he sits alone in a room wander-
ing through the Oxford English
Dictionary (that "Cemetary of
words"), like "a kitchen match
looking for a rough place." Barks
uses a stack of flash cards as he
ruminates over each newly found
word (goaf, selcouth) because he
says that the audience would
"repel" the unknown words if
they merely heard them. The
poem is funny as well as reflec-
tive, and many of the meanings
are poetry in themselves. For ex-
ample, "meaze-the form that a
rabbit leaves pressed in the
grass, and comes home to."
We're ihtroduced to "glore,"
which means "loose fat"; "satis-
passion," which is "enough
agony to attone for"; and "sel-
couth," which means "self-
known." This is not merely found
art, however. Barks reflects often
on his discoveries and relates
these "dead words" to his life
and consciousness.
Even though poetry readings
are often "chancy" affairs, Cole-
man Barks' very human reading,
and the memory of his soft
Southern accent, will certainly
enrich the private reading of
those who heard him.


I have created children taking
chances
underwater at night
edging with their fingers along
the bluff
above the river jumping
barefooted
into a cellar full of broken glass
And one recurring child too
young to know
what's risky on a ledge
curious only about me down here
too far away to reach him where
he turns
like a dummy falling lands flat
on his back
each night on the mattress pile
of my choice
... Lay back your head and
listen
to whatever will be with us
to the waters pressing on each
eardrum
for the life inside.
It is difficult to quote pieces of
Barks' poems because although
his explanations of them are
off-hand and loose, the poems
themselves have an internal
unity which cannot be tampered
with.
Barks' imagery is basic-"sea
water," a "stone," "shells," yet

Daily Photo by ROLFE TESSEM
Charles Seeger

~'Ui' Philharmonia
and Choir electrify

Charles
See ger
'the father
of all things'
By DIANE LEVICK
Speaking in the University's
Chrysler Building, Charles Seeg-
er, eminent musicologist, urged
yesterday that his colleagues
start criticizing the terminology
they use in their field.
Seeger, 85, complained to an
audience of over 150, "They've
been using these words from
much more highly disciplined
studies and not knowing what the
meanings of the terms were in
the studies where they originat-
ed."
Introduced humorously as "the
father of all things" by music
professor William Malm, Seeger
is considered one of the found-
ing fathers of American musicol-
ogy - the investigation of music
as a branch of knowledge. He has
also fathered folksingers Pete,
Mike, and Peggy Seeger.
In his lecture entitled "T h e
English Languagemand Musicol-
ogy," which he modestly called
"this improvisation of mine,"
Seeger explained the need for
musicologiststo begis talking "li-
terate common sense" and pre-
sented several sub-themes as
well.
To illustrate the necessity of a
new vocabulary for musicology,
Seeger related an argument that
he "egged on" at a meeting
of his colleagues. He posed the
question to them: "Are the con-
tents of speech and music iden-
tical, mutually exclusive, or do
they overlap?"
He got three different points of
view. 'They couldn't agree on the
use of any word," he reported.
"They even gottinto the ques-
tion 'What is the meaning of
meaning?' He said that the
confusion develops because the
words are borrowed from other
sciences - math, physics, biol-
ogy - with no set definitions.
The creator of the American
Musicology Society and the So-
ciety for American Ethnomusicol-
ogy described six different ways
of trying to find an analogy be-
tween speech and music by ana-
lyzing their rhetoric, phonology,
grammar, syntax, logic, and lex-
icon.
In addition to criticizing th e
vocabulary used in his field, See-
ger also reproved the many mu-
sicologists who study only the
"art music" of certain cultures
and ignore what they consider
the more primitive styles.
Seeger will be giving open sem-
inars today and tomorrow from
3:30 to 5:3 p.m. in the School
of Music.

Opening Tonite 8 P.M.
the University Players
production of

Bertolt Brecht's

Coleman Barks

MOTHER COURAGE
and Her Children

adapted and translated by
Eric Bentley

"Off duty," Barks says, "I
fancy myself the gracefully aging
athlete (squash, tennis, touch
football, canoeing), and such
stubbornly insisted on (and half-
true) illusions about myself may
have a lot to do with what has
led me to write poetry. I began
by resurrecting incidents in the
life of the body, and I still am
interested in sharpening my
sense of the mind's muscularity."
The first sequence of poems
Barks read were meditations on
parts of the body, and he in-
structed us to concentrate on
each part as he read. It was in-
deed a "resurrecting" experi-
ence. He began with the big toe,
worked his way up past the navel
as far as the adam's apple and
didn't miss much in between.
"Some," he says, "are serious,
others are jokes." "Navel,. .s,
hold the phone down here/ Do
you still hear the gurgling?/ My
long distance mother," or

NOVEMBER 15-18
POWER CENTER
Ind. Tickets $3, $2
Department of, Speech

Box Office Open
12:30-8:00 p.m.
(curtain time)
Box Office Phone
763-3333
Communication and Theatre



FILM-The Psych. 171 Film Series presents American Time
Capsule, Why Man Creates, and Powers of Ten at 4 in
the UGLI Multi-purpose room. Cinema Guild shows
Godard's Weekend at 7 and 9:05 in Arch. Aud. The AA
Film Co-op presents Bergman's Persona at 7 and 8:45.
About this film Daily reviewer David Gruber says:
Persona offer a new and startlingly direct way of
visually representing psychic turmoil. It dispenses with
storyline, confuses dream and reality and, by juxtapos-
ing incidents and faces, brings its two principal charac-
ters into a clash of identities. On screen their images
struggle to merge as one personality is broken down and
absorbed by the other. This is Bergman's best film, and
one of the greatest ever made.
DRAMA-The Student Lab Theatre performs Act III of Hell-
man's The Little Foxes and Gurney's The Golden Fleece
at 4:10 in the Frieze Arena. The University Players
stage Brecht's Mother Courage at 8 in the Power Center.
The EMU Players Series presents Detective Story at 8 in
Quirk Auditorium.
MUSIC-The Japanese Music Study Group will present a
lecture, music and dance tonight in Rackham at 8. Eth-
nomusicologist William Malm speaks on the structure of
Naugata music, and the group will perform Renjishi.
Joyce Malm will dance the Lion Dance, about which her
husband says, "We've been wanting to do this piece for
years." Admission free.
BOOKS-Dr. Benjamin Franklin V discusses the works of
Anais Nin in the AA Public Library's Main Meeting Room
at 12:10.
CANCELLED CONCERT-The Hellenic Student Society an-
nounces the cancellation of the Manos Hadjidakis con-
cert which was to have been presented Friday, Nov. 17,
in Hill. Hadjidakis has become seriously ill and conse-
quently will not be able to appear as scheduled.

By TONY CECERE
Manzoni Requiem, by Guiseppe Verdi.
Eva Likova, Soprano, Rosemary Rus-
sell, Contralto, John McCollum, ten-
or, willis Patterson, bass. The Uni-
versity Philharmonia Orchestra and
The University Choir, Maynard Klein,
Conductor. November 13, 1972, 8:00
PM in Hill Auditorium
Musical performances usually
function like light switches: they
can electrify or lie dead and dor-
mant. Monday night's perform-
ance of the Manzoni Requiem
was very much the former. Mar-
shalling the combined forces of
the Philharmonia and the Uni-
versity Choir, the performance
was a cataclysmic bath of
sound. C o n du ""c o r May-
nard Klein's grasp of the drama
in the piece was flawless and
well controlled: in the Tuba mir-
um section the antiphonal trum-
pets demonstrated this control
with their long subtle crescendo
into the tutti passage. Each
phrase was a magnificient arc of
sond, always balanced, always
refined.
The soloists were all impres-
sive, ut Eva Likova deserves
sinecial credit for coming through
in a tightdsituation. Originally,
Elizabeth Mosher was slated for
the solo soprano role, but illness
prevented her from performing.
Singing on short notice is a tal-
ent unto itself, and Likova de-
serves kudos for her fine hand-
ling of the difficult part. In fact,
all four soloists seemed equally
impressive.
The choir must be congratu-
lated on its responsiveness;
there was a strong feeling for the
score evident in the choir parts,
a sense of tension, climax and
release that raised the perform-
ance to excellence. Unlike many
choirs of similar ability, the
Choir produced a homogeneous,
blended sound reminiscent of the
Norman Luboff Choir and the
Roger Wagner Chorale.
Have a flair for
artistic writing?
If you are interest-
ed in review ing
poetry, and music.
or writing feature
stories abo u t the
arts: Contact Art.
Editor. c/o The
drama, dance, fi
Michigan Daily.

The Philharmonia must also be
cited for an excellent perform-
ance on fairly short notice. The
brass and percussion sections
were the real heroes of the per-
formance, generating wave upon
wave of terrifying musical noise
befitting a Dies Irae. There were
some spotty moments, but these
must be attributed to lack of re-
hearsal time and not incompe-
tence on the part of the players.
In face of the excellence of the
performance, an out of tune note
or two was of little significance.
Musical experiences such as
Monday night are not common-
place occurrences. Maynard
Klein has scored once again in
spite of the eternal problem of
not enough time. He deserves all
the footstomping and backslap-
ping his choir can give him. The
audience certainly responded
very well at the conclusion of the
performance, and it should be
noted that the crowd was large
enough to warrant the opening
of the first balcony, something
that hasn't happened since the
Beethoven's 9th performance
three years ago. It was anelec-
trifying night.

toI

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Bibi Andersson and Liv Ullmann in Ingmar BERGMAN'S

PRSONA

(Swedish Language-
English Subtitles)

tonight
6:00 2 4 7 News'
9 Eddie's Father
50 Flintstones
56 Maggie and the Beautiful
Machine
6:30 2 4 7 News
9 Jeannie
50 Gilligan's island
56 Making Things Grow
7:00 2 Truth or Consequences

In this drama Bergman examines a relationship between a great stage star and her nurse-compan-
ion. The strange story of these two women sets off an odd mechanism of mutual identification where-
in the actress comes to rely on the nurse for moral sustenance. The nurse, on the other hand, be-
comes so identified with the actress that she has no hesitancy in revealing her most intimate secrets
to her. The manner in which the actress uses-and misuses-these secrets is what gives the film its
dynamism and Bergman one of his finest opportunities to use his camera as a scalpel.
"Haunting, intense, beautiful movie-making."-NEW YORK TIMES
"Extraordinarily powerful effects."-NEW YORK POST
TONIGHT! - November 15th -ONLY! - 35 mm - 7 & 8:45 p.m.
TOMORROW EVENING-Schlesinger's SUNDAY, BLOODY SUNDAY is not
about violence
COMING TUESDAY-The Marx Brothers first sound film, THE COCOANUTS
ALL SHOWINGS IN AUDITORIUM "A," ANGELL HALL-$1
Tickets for all of each evening's shows on sale outside the auditorium at 6 p.m.

8:30 4 Banacek
50 Merv Griffin
56 Playhause New York
9:00 2 Medical Center
7 Burt Bacharach
10:00 2 Cannon
4 Search
7 Alan King
50 Perry Mason--
56 Soul!
10:30 9 All Outdoors
11:002 4 79 News
50 Mancini Generation
11:20 9 Nightbeat
11:30 2 Movie
"Divorce-Italian Style."
(Italian 1961)
4 Johnny Carson
7 Dick Cavett
50 Movie
12:00 9 Movie
"Something for a Lonely Man"
(1968)
1:00 4 7 News
1:30 2 Movie
"TheFlanagan Boy." (English,
1953)
wcbn today
fm 89.5
9:00 Morning After Show
12:00 Progressive Rock
4:00 Folk
7:00 Rock & Roll Retrospective
8:00 Rhythm & Blues
11:00 Progressive Rock (runs 'til 3)

4l
7
9l
50l
56S
7:30 21
41
7'
91
501
561
8:00 24
4,
7.
9l
56
50

News
To Tell The Truth
Beverly Hillbillies
I Love Lucy
Zoom
What's My Line?
Family Classics
Wild Kingdom
News-Don West
Hogan's Heroes
Consumer Game
Carol Burnett
Adam-12
Jacques Cousteau
Pro Hockey
A Public Affair/Election '72
Dragnet


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WEDNESDAY is
SINGLES NIGHT
341 S. MAIN - 769-5960
HILL AUDITORIUM
Dial 764-8350
TWO SHOWS ONLY!
at 7 and 9:30
'JOINT CONCERTS'
starring: Michigan Men's Glee Club
andr Purdue Varsity Glee Club

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Maria Callas


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