t ARTS The Michigan Daily Page Thursday, March 17, 1988 Good By Elizabeth Block A unique collaboration of Tom Stoppard's play Every Good Boy De- serves Favour with the world premier of Nicholas Delbanco's Wolf opens tonight at the Power Center. Director John Russell Brown unites the Project Theatre Company with the University Symphony Orchestra, conducted by Gustav Meier. WOLF, the commissioned com- panion piece to Every Good Boy De- serves Favour , was written as a re- sponse to Stoppard's play, and the double billing combines different worlds that somehow unite. Stoppard creates a world in which opinions become symptoms of a particular bureaucratic paradigm; specifically the State of the Soviet Union. According to Stoppard, the play is about a triangle player "who thinks he has an orchestra in his head, and about a political dissident who has struck his insistent, discor- Boy dant note in an orchestrated society." The two meet in a psychiatric prison. Alexander, the political dissident, is imprisoned because he refuses to say that the State allows freedom of speech, while Ivanov is branded mad because of his relentless imagination. As director Brown defines it, the tri- angle player, Ivanov, is the "clown- artist seeking perfection against all odds. He has to dare to live with his imaginary world, and somehow tie it down and communicate it" - whereas Alexander seeks perfection of conscience, at the expense of his own physical freedom. The supposed madness for which they are imprisoned is a product of Soviet Bureaucracy. Here exist two extremes of potential insanity as de- fined within the borders of one coun- try. Stoppard, then, seems to solidify a notion that madness is no longer a universal standard, but rather a multicultural exchange of meaning. It is precisely that elasticity of meaning (as defined by a country), that illus- trates the paradox of insanity versus cries reality. The role of the orchestra in Every Good Boy Deserves Favor, seems to symbolize these conflicting layers of reality, as the music, by Andre Previn, creates both harmony and dissonance. Somehow, it seems to serve as a reminder that the chase after perfection only leads to chaos in any bureaucracy. In the second play,WOLF, a clock collector struggles for a perfect life by controlling time. Unlike Alexan- der and Ivanov, pawns of bureaucratic manipulation, the main character in WOLF deliberately isolates himself from society. He decides, according to Delbanco, not to "try and link him- self up with the world's system any longer, but that he will release him- self from connection to the world outside - and simply take it all in- side him." Because the play is not literal in form, this implies a metaphorical death or escape. The synthesized music of WOLF, composed and performed by David Gregory, intends to propel this sub- Wolf' textual, inner world of alienated col- lector of clocks, as it apparently un- dercuts his entire bureaucratic exis- tence. The music also seems to cap- ture the wolf-like qualities found in any civilized but discordant individ- ual. But if one looks at both plays, it is obvious that regardless of choice, extremism in imagination, truth or perfection, has no place in any sys- tem. The metronome-like ticking of these minds is indeed the music of the misfit. Fortunately, Brown and the Project Theatre welcomes the Ann Arbor community to witness and celebrate the uniqueness of each individual's self-exploration. Every Good Boy Deserves Favour and WOLF will be performed at The Power Center, tonight, through Sun- day. Performances begin at 8 p.m. The Sunday matinee will begin at 2 p.m. Ticketsare $12.50 and $6 with a special student rate of $4. For in- formation call 764-0450. y V Leigh Woods and Cynthia Crumlish star in the premiere of NicholasA Deibanco's 'WOLF,' a companion piece to Tom Stoppard's 'Every Good' Boy Deserves Favor.' People Dancing celebrates the 'life as theatre' art of Salomon Z 1.+ By Juliet James The Ann Arbor based dance com- pany, People Dancing, will premiere their original presentation of Char- lotte: Life or Theatre tonight at Per- formance Network. The subject of this multi-media production is the tumultuous life and work of painter Charlotte Salomon, a young artist killed in the death camps of the Holocaust. Salomon saw her life "as theatre" and incorporated dramatic text into her autobiographical paintings. These compositions are brilliant portrayals of the emotionally turbu- lent environment encountered by a Jewish woman living in Berlin and Southern France during the hysteria leading up to World War II. Inspired by a collection of paint- ings that chronicle Salomon's all too brief life, artistic director Whit- ley Setrakian has choreographed an abstract modern ballet dramatizing the political and social turmoil Sa- lomon experienced as she approached womanhood. The presentation is an interdisciplinary project that uses actors, slides, and music to accentu- ate the choreography that expresses several facets of Salomon's personality as viewed through her works. The original score was com- posed by Dick Siegel, more popu- larly known for his work with Tracy Lee And the Leonards. Performance Network's resident theatre ensemble "La" will contribute to the dramatic aspect of the project. Setrakian founded People Dancing in 1983 in order to explore the rela- tionship between humor, dance, and theatre. Her formal education in drama began at the High School for the Performing Arts, and she studied ballet at The Joffrey School and jazz with the Alvin Ailey School of the American Dance Center. Setrakian has earned a Bachelor of Fine Arts here at the University. In addition, she has been honored as an Outstanding Creative Artist by the Michigan Council for the Arts. A founding member of the com- pany, Susan Cowling, began study- ing dance with Setrakian in 1982. She has also studied at the Univer- sity, and with Viola Farber and Margaret Jenkins. Yet another original member of the company, David Genson, began studying dance while attending the School of Art here at the University. His credits include a scholarship to the American Dance Festival. More MUSICAL lECORD YOUR MUSIC AT EQMCIQUAD studios. Low cost, 8-track. Info at 764-3456. recently, he has performed with the Detroit Dance Collective. Giles Brown has two degrees from the University, a Bachelor's degree in Dance and also in Arts and Ideas. He has studied and performed with Bill T. Jones and Arnie Zane of New York City and in San Francisco with Mangrove and Margaret Jenk- ins. Jeannette Duane is another recipient of a Bachelor of Fine Arts in Dance from the University. While in Paris, she studied at the Centre Americain and Le Centre de la Danse du Marais. After returning to the States, she worked with Margaret Jenkins in San Francisco. Cur- rently, she is a faculty member of the Dance department of Washtenaw Community College. Leslie Dworkin began her modern dance training at Oberlin College. as an undergraduate and was a member of the Oberlin Dance Company and the Zero Moving Company. She has also worked with Susan Matheke of San Francisco and at the American Dance Festival. This month marks the beginning of her second year with People Dancing. The most recent addition to the company, Wendy Millar, has earned a Bachelor's degree in Dance from the University of Utah. Since her graduation in 1984, the Michigan native has taught dance in Ann Ar- bor and performed with the J. Parker Copley Dance Company of Detroit. The presentations coincide with the Hillel Foundation'scninth annual conference on the Holocaust. After EURPEIajA this Sunday's matinee, art historian and doctoral candidate Janice Simon will speak on Charlotte Salomon and her artistic influences. The dancers, actors, choreographer, and composer will also participate in a discussion. Simon will present an additional lecture at 7 p.m. on Thursday at" the Performance Net- work. Though created in the '30s, the emotional, expressive works of Charlotte Salomon show a striking parallel to contemporary explo- rations in dance and performance art. This project promises to be interest- ing and thought-provoking, indeed a focal point of Performance Net- work's spring season. CHARLOTTE: LIFE OR TIIE- ATRE will be performed March 17- 20 and March 24-27. All perfor- mances will take place at the Per- formance Network of Ann Arbor, 408 W. Washington St. Evening performances start at 8 p.m. and Sunday matinees at 2 p.m. Tickets are $7, with discount senior and stu- dent tickets available for Thursday and Sunday performances. Advance purchases can be made at First Posi tion on Williams St. or by contact- ing Performance Network at 66- 0681. In Conjuction with the Conference on the Holocaust DR. CHARLES THE BLACK - THURSDAY MA RACKHAM AUI ADAMS: JEWISH RCH 17 DIALOGUE 7PM DI TORIUM Dr. Charles Adams of the Second Baptist Church in Detroit is the past president of the Detroit chapter of NAC2P. Introductions by Dr. Charles Moody, U-M Vice Provost for Academic Affairs and Dr. Richard Loebenthal, Anti-Defamation League. lli~I Y# CLASSIFIED ADS TICKETS ROOMMATES BRUUUCE TICKETS--GOOD SEATS Main floor-lower bowl. Call 769-9874. ROUNDTRIP TICKET TO BOSTON 3/31 } to 4/3 $150 or best offer. Call 996-8141. SPRINGSTEEN TICKETS First twenty rows main floor 930-2949. SPRINGSTEEN TICKETS TUES. SHOW*BEST OFFER. GERARD AT 769- 8746. 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