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September 19, 1988 - Image 13

Resource type:
The Michigan Daily, 1988-09-19

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Page 13 - The Michigan Daily - Monday, September 19, 1988

forum on
The Event:
-Shanik-Fleischer Forum for 1988
-'Jews in American Cinema" Film
The Films:
-His People, 7 p.m., September 19
A silent film dealing with the
assimilation of immigrant Jews
into American culture. Musical
accompaniment by Michigan
Theater organist John Lauter.
'The House of Rothschild, 3 p.m.,
September 25
-Crossfire, 7 p.m., September 28
-Marjorie Morningstar, 3 p.m.,
October 2
-Goodbye Columbus, 7 p.m.,
October 6
'Next Stop Greenwich Village, 7
,p.m., October 10
'Annie Fall, 7 p.m., October 12
All films to be shown at the
Michigan Theater.
Other attractions:
-"Jews in American Cinema, 1898-
1988"; Michigan Theater lobby -
A photo exhibit which will also
include posters and newspaper
'reviews dealing with the Jewish
contribution to film. September 19
~- October 16.
-October 11 - Ms. Magazine
editor Letty Cottin Pogrebin will
give a lecture entitled "From
Marjorie Morningstar to Dirty
Dancing - Jewish Women in
American Film." 7:30 p.m., Angell
-October 15 - A free gala
screening of The Chosen - gala
Jbecause director Jeremy Paul Kagan
and star Rod Steiger will be making
guest appearances. 8 p.m.,
Michigan Theater.
-October 16 - Film critic Neil
Gabler speaking on "The Movie
Moguls," the subject of his newly-
published book An Empire of Their
=Own:'Flow the Jews Invented
Hollywood. Gabler will be joined
by film critic Judith Crist, director
Arthur Hiller (Love Story), and
SUNY professor of English and
Humanities Lester Friedman, who
will head a panel discussion of
"Jews in American Film, 1898-
1988," 3 p.m., Angell Hall
Auditorium A.
The festival is sponsored by the
Program in Judaic Studies and the
.Anti-Defamation League of B'nai
B'rith - enabling students to see
the films at a much-reduced cost of
$1.50 - and, even better, all the
lectures and appearances are entirely
-Mark Shaiman

Series looks
at history of



THEY sway in the air with arms
held high in celebratory song. They
twist to their own sensuousness
beat, forging through traditional
boundaries. They express a voice
which has existed unheard. They are
some of the figures in works created
by Miriam Schapiro, a feminist art-
ist who firmly believes that art
created by women should be
presented uniquely.
For the next two weeks, Schapiro
addresses this message and other
social/political ramifications of
women's art in her lecture series RE-
Schapiro examines women's visual
culture from early times to the
present explaining, "Now that we
women are beginning to document
our culture, redressing our trivili-
zation and adding our information to
the recorded male facts and insights,
it is necessary to point out the
extraordinary works of art by women
which despite their beauty are seen
as leftovers of history."
Schapiro was one of the first
feminist voices to be heard in the
artists' arena. She began taking art
classes at the Museum of Modern
Art and later received a graduate
degree in painting from the State
University of Iowa in 1945. In the
late '60s, Schapiro moved to Cali-
fornia with her husband and son to
start teaching at the University of
California in San Diego.

These days, Schapiro
speaks out in attempt to
unite the world of art -
traditionally dominated
by men in history of art
textbooks - with the


history of
art: "I was

trained by men to be an
artist, but I learned from
women how to be totally
expressive, how to allow
my female self to have a
These days, Schapiro speaks out
in attempt to unite the world of art
- traditionally dominated by men in
history of art textbooks - with the
emerging history of women's art: "I
was trained by men to be an artist,
but I learned from women how to be
totally expressive, how to allow my
female self to have a voice."
One major success for Schapiro
has been the creation of "Woman-
house", a renovated home in Hol-
lywood where she and fellow art
instructor Judy Chicago worked with
their students to create a suite of
rooms which display women's
dreams, fantasies and daily realities.
Within the last two years, Schapiro

Artist Miriam Schapiro, who painted 'Pas a deux' (above) will discuss women's
contributions to the art world in a series of free lectures.

expanded her interests in women's
liberation beyond the art world by
creating a poster called "Celebrating
Women's Lives" for an abortion
rights fundraiser. The poster was
given out at the event to holders of
benefit tickets and the money raised
went to the National Abortion
Rights Action League.
Like the figures she creates,
Schapiro is a decorative assemblage

of insight and thought. Her works
possess a vitality which can only be
equaled by her presence at the
University next week. Schapiro has
not confined herself to singular top-
ics for the lecture series, so each
meeting will be executed with a
unique format. The Museum of Art
will be holding a reception for
Miriam Schapiro following the first

The public lecture series "RE-
be held on Monday, September 19,
Thursday September 22, Friday
September 23, Monday, September
26, Tuesday, September 27 and
Wednesday, September 28 all
meeting at 7:30 p.m. in Angell Hall
Auditorium D.

The Meeting: The


behind the myths

Patience versus Rage.
Endurance versus Retaliation.
"We shall overcome!" versus "We
shall come over!"
Dr. Martin Luther King, Jr.
versus Malcolm X.
These two dynamic figures face
off on stage in Performance Net-
work's The Meeting. The title of
Jeff Stetson's play seems to be an
understatement after witnessing such
an impassioned confrontation. The
Meeting features two men who
dedicated their lives to achieve a
common goal - freedom - but
whose methods for reaching this
goal drastically differed.
Performance Network, a non-
profit community theatre, presents a
fascinating interpretation of Stet-
son's provocative play, which
imagines the conversation the two
men may have had if they had met in
a Harlem hotel.
Charles Jackson, currently an
Assistant Professor of Theatre and
director of the Black Theatre Pro-
gram at the University, displays his

Play marked by conviction, confrontation

talent by both directing the play and
starring as Malcolm X.
Jackson captivates his audience
with a compelling performance. We

Throughout Malcolm and Mar-
tin's encounter they exchange vig-
orous dialogue to argue why their
own strategy is the only way to free

is also filled with a series of silent
stare downs when the two men need
not say a word to display the tension
that exists between them. The

The Meeting has its share of funny moments which allow us to see the men
behind the public figures. At one point during the discussion Malcolm says, "I
had a dream last night ... Oh I'm sorry, that's your line," to which Martin kindly
replies, "You can borrow it if you like."

The Meeting has its share 'of
funny moments which allow us .to
see the men behind the public
figures. At one point during the
discussion Malcolm says, "I had a
dream last night ... Oh I'm sorry,
that's your line," to which Martin
kindly replies, "You can borrow itif
you like."
Rick Titsworth, a theatre student
at the University, completes the cast
in the role of Rashad, Malcolin's
devoted friend and bodyguard, and
also provides much of the comic
relief of the production.
What begins as a fervent con-
frontation becomes a poignant
pacification. We see the irony, as
Martin says, "Do you think they'll
remember us as men and only mdn?"
and when Malcolm says, "I hope
they remember what I represent."
We remember.
THE MEETING will be performed
at Peformance Network Thursday,
September 22 through Sunday,
September 25 at 8 p.m. on Thursd4y
through Saturday, and 6:30 p.m. on
Sunday. Tickets are available at the
door for $6 for students and seniors.

C~z561 61048

experience his heartfelt anger when
he demands with clenched fists that
the oppression be stopped "by any
means necessary," and also his
sensitivity when he gently says to
his wife, "Kiss my little girls for
me," after learning his house had
been bombed.
Steve Dixon, who plays King,
perfectly echoes the melodious voice
that continues to inspire us in tapes
of King's timeless speeches.

Blacks, or as Dr. King prefers, to
free America. Malcolm believes that
Martin's rhetoric _ "We will wear
you down with our capacity for
suffering" - exemplifies weakness,
and proudly declares, "Aggression in
the name of self-defense is not
violence. It's honor." But Martin
stands by his conviction that one can
indeed "take a stand by sitting
Malcolm and Martin's "meeting"

tension fills the theatre and
approaches its climax when their
conflict is manifested in one of the
simplest forms of struggles - an
arm wrestling match. Yes, it is
humorous to see Martin Luther King
and Malcolm X sweating it out in
such a primitive test of strength, but
this suggests the futility of their
argument since both men are
essentially striving for the same

Ownthe sky
To fly is one thing. To fly with the Marine Corps is something
else. They'll show you the meaning of wings. From the wings of
the F-18 Hornet to the wings you wear as a Marine aviator,
this is flying at its best. And your ticket to fly is
your college diploma. If you'd like to be up
there, contact your local Marine Officer Selec-
tion Officer. 1-800-MARINES.

Know every line in Annie Hall?
C an you pronounce Truffaut?
Do you agree with our music
editor who says, "Lynch is
Do you use the phrase "C apra-
esque" in mixed company?
if you answered "Yes" to at
least one of these, we want you
to write for the Daily Arts film

Stop by and see a Jostens representative,
Monday, Sept. 19-thru Friday, Sept. 23.

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