THE MICHIGAN DAILY
Tuesday, March 23, 1976
THE MICHIGAN DAILY Tuesday, March 23, 1976
DO YOU SOMETIMES HAVE DIFFICULTY
-asking professors for extensions on papers?
-telling your friends that you really care?
-showing anger when people infringe on your rights?
If you are interested in working on these and other assertion prob-
lems . . . Peer Counselors at Counseling Services is looking for students
to join us for a
April 4 in
Prague Chamber show
(Continued from Page 5)
sibilities when streching and in-
verting a tonal foundation. Itf
received an insightful perform-'
ance by the orchestra yet ap-
peared to leave the audience a
The most exciting piece -
Vaclav Kalabis' Chamber Mu-
each part that a single read-
ing would seem perfectly logi-
Haydn's dramatic Symphony'
No. 103 closed the program
and once again was marred by!
sporadic mistakes in the brass
and, most unfortunate of all; by
the timpani in the third move-
the brass. Their virtuosity seem-
ed to grow throughout the piece
and became even stronger in
the two encore selections, t h e
first movement from Beethov-I
zart's Overture to Figaro.
en's First Symphony and Mo-
zart's Overture to Figaro. j
OPEN TO ALL STUDENTS
Assertiveness Training is a strategy for increasing our ability to respect
our own individual rights and to clearly express ourselves without in-
fringing on the rights of others.
To register or obtain more information, please call 764-8347 or drop in
at Couseling Services, 304 Michigan Union, 9-5, Mon.-Fri.
Sponsored by Peer Counselors at Counseling Services
sic for Strings, Op. 21-followed ment. A publicized novelty of t h e
the intermission. Written in Yet nothing could stop t h e Prague Chamber Orchestra is
1963, this work was also in three string section from command- the fact that they perform with-
movements yet there was such ing the attention of the listener out a conductor; of course, this
a natural extension between and overcoming the errors of is not rue. Small but obvious
- ----gestures in the bow were us-
ually handled by their concert
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unevenly in 'Rite'
I (Continued from Page 5) stage until they eventually stood
whose monologue set the com- and walked as men.
ic tone before the dancers The second part, representing
reached the stage. life. employed the orchestral
nusic of Andre Prevost instead
THE WOMEN were garbed in of Epoque's taped sounds. This
tube tops, boxer shorts and switch in musical medium was
knee socks for their bizarre accompanied by a slight cos-
routine of whimsical but deft- tume change. The dancers re-
ly coordinated movements moved some of their fleshtone
which cover everything from bodv stockings to seem all the
hip-grinding to tummy-rubbing, more naked.
all quick and mechanically per- Sylvie Pinard Lambert, a n d
formed without a rhythmic Phillipe Vita dominated t h i s
break. After some time, how- section with their intensely inti-
ever, the peculiar humor be- mate coupling. Vita, whose
gan to grow labored; perhaps form and bearing suggest Leon-
the suite was not short enough. ardo's ideal man, was the only
Martine Epoque's Diallele dancer on the program w h o
was so superior to the o t h e r could equal Lambert's infinite
works on the program that it grace. The two of them together
made them seem shabbier created an erotic tension t h a t
than they already were. The finally could not be completed
composition, the choreography, on the stage, but moved to pro-
he solo and ensemble dancing jeced nude stills of the couple
- even the final photography - on the backdrop for a climax.
were superb. The result was stunning, and
THE WORK is a starkly mo- set the Epoque so far apart
dern, two-part depiction of birth I from the rest of the works that
and life, opening with an eerie, sharing a program with them
pale light on squatting forms seemed unfortunate. Perhaps
which eventually reveal limbs, more careful programming and
torsos, and heads. These crab- more thorough practice in t h e
like creatures writhed and basics of dance will produce an
crawled with tense synchron- entire evening of such excel-
ization, spreading across t h e lent performances.
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