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"t f:':. .x'v .: .}+ :" : " ::..., " ' '' :".. :.::..V.ur: 'f5 fr r'J.f:i :;tw:f"?ix'": .::., 'ft .:.45ir}:r.rf { ::": :" :" ~":: ":.: r. .. rt" ASet".w'.tiu":: :, /,o:n:.::,.. : dGwdca.dxccotun,.":.;, Raking success By Susan Makuch The Rake's Progress School of Music Power Center November 4-7 HAVE nothing to teach, I have have nothing to say," professes Robert Altman. Little does he know that people all over the university are learning a great deal from everything he says and does. Rober4 Altman, the famed director of such films as M*A*S*H, Nashville, 3 Women, and Popeye, who has been on our campus since September, is here to direct the School of Music's production of The Rake's Progress. He is also working as Marsh Professor in the Communications department. "I was invited by Dean Boylan and Gustav Meier. . . they came and asked me, for some reason, if I'd direct The Rake's Progress. I've never done opera before and I was flattered, but I'd never dream that I'd do it," Altman explains. "I talked to them and flirted with it for a while, but then decided that I just couldn't do it. I couldn't take the time out of my schedule, I couldn't afford it. . . I wasn't gonna do it-we just didn't see how we could pull it off in the time we had," he says. So, there were numerous excuses Altman could have used to stay away from the opera venture. "Then I got this idea for a concept and I got excited about it," he reveals. "You couldn't have kept me from doing it after that," he says enthusiastically. Altman claims to have taken liberties with the staging of The Rake's Progress, which he thinks is "quite marvelous. I think it'll make it attrac- tive and entertaining to people who are IOO afraid of opera." Just what those liber- ties are, he's not saying."You'll have to come and see for yourself," he advises. All has not gone smoothly since Alt- man's arrival, however. "We've had problems, but we've solved them," he says. One of the difficulties came from the jealousy between the differing departments in the University. Altman was invited here through the School of Music, which seems to have upset the Theatre and Drama department. "The Theatre School has not been very cooperative and I think they should have been. I think they should have been involved in this," he adamantly conveys. "We did get the Art School into it, which nobody at the University had planned on," he reveals. The art students are basically working on sets and prop designs. "They've been a great help-and it's great for them because they get a chance to work in the theater, which they normally would not get a chance to do over there," Altman adds. "I wish there were even more students involved. It's such an educational experience," he says. The enthusiasm Altman brings to this current project is typical of his passion for any artistic endeavor, no matter what it may be. After television, film, theater, and now opera, he's con- sidering a proposition to do a light show at the 100th anniversary of the Brooklyn Bridge. "That's just art," he says, "I'll think very seriously about doing it." Altman is diverse in his own ap- proach to his work. "Anything I have to say is in my work," he reveals. He also mentions that he's come up with story ideas in every possible way. "I've writ- ten my own original scripts; I've done adaptations; I've taken other writers' (work); other books . , . I've changed things, I've collaborated, I've done it (gotten stories) in every way you can think of," he explains. Altman has even adapted one of his dreams into a critically-acclaimed motion pictue. "I dreamed I was doing a movie called 3 Women with Shelley Divall and Sissy Spacek and that it took place in a desert. It was about a per- sonality theft," he remembers. He wrote the script from that dream. Although most of Altman's tales are in- fashioned hoop dresses, flapper, costumes, Dracula capes, zoot suits, and arab dress are pretty popular too. You can also get complete theatrical make-up at Lucky's. If your costume is really good, you might be able to do some trick or treating or at least enter one of the many costume contests being held. A "REAL COOL" TIP- you'll have more fun and be more convincing if you act like whatever you're dressed as, be it pseudo-punk, gorilla, Dracula, or in drag. The streets around Central Campus are going to be a showcase Sunday night. Many people just walk around. If you can't find anything else, here's a day-by-day listing of what you might want to do: FRIDAY is the beginning of all the homecoming stuff, so most of the em- phasis is going to be on that, but it does mark the beginning of some of the weekend-long Halloween-type goings- on. Bennigan's Tavern (575 Briarwood Circle) would be right for a bigtime restaurant meal with a Halloween motif. Magician Hank Morehouse will be traveling from table to table with sleight of hand chicanery. The happening closest to the original idea of Halloween will be at the Canter- bury Loft (332 S. State) Friday through Sunday. Music/dance group Nada is going to be delving into concert-based pagan rituals and goddess worship rites, called "Dreaming in the Dark," to show what "Halloween meant to people living in nature." Shows begin at 8 p.m. Nada directs a workshop at the Loft at 2 p.m. Sunday. Movement, rituals, chanting and instruments will be in- volved. SATURDAY's main event is Iggy Pop at the Michigan Theatre. It's Iggy's 15th anniversary since he and the Stooges first performed their debut show in Ann Arbor. Iggy's always great, and the stage show will probably rival the belladonna-crazed dancing of a witches' Sabat. A true ghoul, Nash the Slash, a one-man band who performs in invisible man face wrappings best- known for his "Dead Man's Curve" on Cut-Throat records, is the warm-up. Excellent choice for a Halloween con- cert. There's a costume contest, and maybe The Ig will do some of the "un- speakable rites" that everyone's so concerned with. After Iggy, or instead of if you couldn't get tickets, Stolen Legacy is at the Mile High Club. That place should be a real fun time. If you can get out to Arborland there's the Great American Tradition of x the Jaycee Haunted House somewhere out there. Big social event of this season so far is the Homecoming Masquerade Ball at the Union. It's in the Michigan Ballroom and there's a cash bar. There's a two-dollar cover. It starts at 9 p.m. Astralight, a top-40 band with the benefit of a saxophone and a little funk, provides music. Since it's homecoming some alumni might show up. "Costumes are guaranteed to be outrageous." SUNDAY, the Ballroom at the Union gets turned over to the Cult Heroes, The Pulsations, and Batteur Attaque for a big benefit Halloween Costume Ball that says Proposal D isn't dumb. It costs $3.50 to get in, and there's a cash bar for drinks. All ages are welcome. It'll be simulcast on WCBN. Proposal D is on the ballot to keep utility companies from making automatic rate increases. No matter what your politics, it should be a real fun time. There's a costume contest too. Security will probably be heavy, as the Ballroom is a fairly nice place and could get damaged easily. The rest of Sunday night either goes on privately or in the bars. Rick's has SLK and drink specials, decorations, but no costume contest. Second Chance has a costume contest and no band, but dj party. Sunday night, which if you've forgotten, is the real Halloween, is mainly a'do-it-yourself night. But if you want to be passive, there's all kinds of special horror movie features going on this weekend. 'U 6 , Altman: Stage director triguing and fascinating, he insists he doesn't deal in stories. "I deal mostly in arena-in subject. I don't much care about who did it or whatever," he ad- mits. Altman is very protective of his work. It seems that art is always his primary concern, with the commercial aspects only a secondary regard. That is why he is never worried about the MPAA ratings of his films-even though a PG label can mean millions more at the box office. "I will never hold back on material just to get a certain rating. I don't believe in ratings, I don't believe in censorship. I make a movie the way I want to make it-the rest (ratings) is their problem," Altman states adamantly. Altman relates a story about his film Nashville that illustrates his convic- tions. "There was one scene-it didn't mean a thing to me-where she's get- ting out of bed and calls her husband a fucker. You can barely hear it and it doesn't mean a thing...if she'd said jerk or anything it wouldn't have made a bit of difference to me. So when it was finished they (the studio) said to me, 'Well, there's that one word in there, if you take it out you could have a PG rating ... They said,'You have to take it out.' I said, 'I'm not takingit out.' It's their job to see the film and rate it, but not to tell me to take something out. They said, 'Well, does it mean anything?' I said, 'It doesn't mean a thing.' They said, 'Why don't you take it out then?' I said, 'Because you're telling me to.' " He goes on to say that, "I wouldn't do it (edit the word), and it probably cost us a lot of money. Paramount tried to force me to take it out because they were releasing it (the movie). I just said, 'You can't do it.''' This undaunting faith in what he believes important characterizes all that is Robert Altman. For a man that follows his artistic instincts more closely than his monetary desires, he has succeeded quite well financially. M*A*S*H is one of the all-time top- grossing films, and he owns all the rights to his new movie, Come Back to the Five and Dime, Jimmy Dean, Jim- my Dean. "This is the first film that I've owned and controlled and nobody's gonna cut anything. If it goes to a net- work sale and they want (a word)cut out, I'm just gonna say there's no net- work sale," Altman says. "The film only cost $800,000 and the people have already got their money back guaran- teed, so I control it. I'm not cutting anything," he reiterates. Altman feels the same kind of ad- miration for The Rake's Progress as he does for all of his projects. "I'm arrogantly pleased with all my work," he admits. "I think what I'm doing here might be the best work I've ever done.. . I'm really thrilled with it." With all of Altman's perseverance and talent being channeled into a University of Michigan production, this campus has more than enough reason to be thrilled with Robert Altman. I If/ Make Waves: Find three people among the masks Thursday, October 28, 1982 8:00 p.m.-PRO-BAR NIGHT 9:30 p.m.-ECLIPSE JAZZ JAM SESSION Friday, October 29, 1982 3:00 p.m.-EVANS SCHOLARS CAR BASH 1 $2 4:0 6:0 7:3 8:0 9:3C 0 p.m.-THE COUNT OF ANTIPASTO PIZZA-EATING CONTEST 0 p.m.-HQMECOMING PARADE 0 p.m.-HOMECOMING PEP RALLY 0 p.m.-OAK RIDGE BOYS CONCERT __Saturday, 0 p.m.-LIVE-LY FRIDAYS October 30, 1982 9:00 a.m.-GO BLUE RUN 10:00 a.m.-MUD BOWL 1:00 p.m.-UNIVERSITY OF MICHIGAN V. UNIVERSITY OF MINNESOTA 4:00 p.m.-ALUMNI CENTER OPEN HOUSE 4:30 p.m.-POSTGAME TAIL-GATE 9:00 p.m.-HOMECOMING-HALLOWEEN MASQUERADE BALL 9:30 p.m.-... in THE CLUB HOMECOMING 1982 is sponsored by University Activities Center, Miller D-~A...--.. m - - -vi ni l .D - . -. . STI For FRIE A m with crewing compony, WiWf$, Vomino s Pizzo. 1 Weekend/October 29, 1982 S V .. ! 5 . -', 'tvo 1 V i vvssvaawsr vv«vv s. .+ ... ... - - .-. ,.-. - _ _ .. _ .,_.,.e. ._._ ...--,..-. ... a a a a f e - - a fb__ n r . .