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MANAGING EDITOR
RICHARD L. TOBIN
.BEACH CONGER, JR.
.............CARL FORSYTHE
.D.. . . AVID M. NICHOL
.Sheldon C. Fullerton
.Margaret M. Thompson
......Bertram J. Askwith
re .........................:Denton C. Kunze
.... RobertL . Pierce
. . . ".. . . . . . . . . . .William F. IPyper

NIGHT EDITORS
Denton C. unze
George

J. Cullen Kennedy
Jerry . Rosenthal
A. Stauter

rt

Sports Assistants
Wilber .J. AMyers
W. Thomas 'John
REPORTERS
James Krotozyner
.Robert AMeritt
henry Meyer
Marion ilezewski
Albert Newman.
.1Jerome Pettit
Johi Pritchard
Joseph Renihan
Elsie Feldman
Prudence Foster
i Georgia Geisman
Barbara IHl
Martha Littleton
S Susan Manchester
Cile Miller

Charles A. Sanford
S. Townsend
Brackley Shaw
Parker Snyder
Ford 'Spikermati
Alfred Stresen-Reuter:
William rThal
Glen Winters
Charles Woolner
Margaret O'B'rien
Eleanor Rairdon
Marjorie Thomson,
Anne Tobin
Alma Wadsworth
Josephine Woodhams


BUSINESS STAFF
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RL'ES T. KLINE .. . . ..........Business Manager
RIS P. JOHNSON......... . .... .....Assistant Manager
Department Managers
ertising .................................Vernon Bishop
ertising.................................. Robert B. Callahan
ertising ..................................William W. Davis
ice.........................................Byroni C. Veddler
lications ..................................William 'P. Brown
ulation....................................HMarry 1t. Bagley
ounts .. .............................Richard Stratemeier
iness Secretary .............................Ann W. Verner
Assistants
1 Aronsen Willard Freehling Thomas Roberts
ert E. Burscy HIerbert Greenstone. . A. Saltzstein
lard A. Combs John Keyser .,Bernard E. Schnacke
n- Clark Arthur F. Kohn Grafton W. Sharp
tave Dalberg Bernard II.Good Cecil E. Welch
)ert E. Finn Jamnes Lowe
hryn Bayliss Ann Galimeyer Helen Olsen
ma Becker Ann Harsha Marjorie Rough
ievieve Field Kathryn Jackson Mary E. Watts
ine Fischgrund Dorothy L aylin
NIGHT EDITOR-GEORGE A. STAUTER
TUESDAY, MAY 26, 1931.
Education and the Depression
EPLORING the tendency to decrease expend-
tures for education during the period of eco-
mic depression, Dean Russell, of Columbia Uni-
rsity, last week advocated increased educational
:ilities and training as one method of avoiding
reducing such periods of depression. Education,
said, was the new frontier into which those
izens could move, who could not, as in former1
ars, settle in the Western lands in an attempt to
tart over again."
Education, no doubt, would go far in 'ninimiz-
g the suffering accompanying times of distress.1
liberal education, to quote Dean Russell, would
:vide a man or woman with a training which
>uld enable the individual to undertake more
in one type of work. Workers who are fitted to,
:omplish only one task are those who are suffer-
g most during the depression. Today, when the
lue of an A. B. degree is denied to be of any
lue in the modern business world, this advice
comforting to the college undergraduate who
s, no doubt, been wondering for some time what
refit he will derive from his four years spent
learning.
Revolution has, in the past, been characteristic
times of economic depression. And such violent
thods of changing governments have usually
ginated in uneducated classes. Education would,
should, furnish more people with a proper men-
training, and balance, develop their mental pro-.
ses to such a point where reflection and logic
vern their actions rather than hysteria and emo-
nalism. This same training should afford them
opportunity to study and become acquainted
th the fundamental bases and causes, of trade
:1 industry, and to act accordingly instead of
superficial, temporary conditions, which are
I secondary causes.
ducational methods have progressed today to
oint where much more is expected of them than
former years. But they undoubtedly open up
new frontier" to the discontented citizen. Col-
e no longer belongs exclusively to the young
.n or women. Its purpose and aims have become'
ich broader, more extensive. To guarantee edu-
ion as the remedy of the business cycle is im&
ssible. Yet the proper adaption of education to
:iety will enable teachers to progress in 'the
ht direction in attemptIng to alleviate the dis-
ss which follows and accompanies the dqpres-

tween the two governments.
Though deportation for merely being a Com-
munist is a debatable matter, we hold no brief forc
Mr. Tao-Hisuan. As a privileged citizen of his
state, he was a guest in this country, and as suchr
morally obligated to respect its laws in every way.R
That he, in such a position, should have connected
himself with a Communist propaganda organiza-
tion, was a breach of good faith on his part, andi
his deportation, although protested by labor organ--
izations and Prof. Dewey, is justified.
_._3
. ------ I
Music .and Drama
ELECTRA
A Review by William J. Gorman
THE second production of Greek tragedy which
Robert Henderson has brought to Ann Arbor not
only succeeds in being in itself magnificent but also
explains and in a sense justifies certain of the errors
that befell the first one. Mr. Henderson's idea, I take
it, is that the knowledge of the actual Greek style of
production is so slender and those few bits so imprac-
ticable in the contemporary small intimate theatre
that the only thing left to the producer is to restate
the meaning and finality of Sopholes' play, recreat-
ing it in modern theatric terms-that is, with the
conventions of acting, grouping, and movement most
natural to those participating in the production and
most familiar and meaningful to those watching.
The notion is implausible and offensive only to those
traditionalists whose traditions have become inhibi-
tions precluding a sensitive experience of a new style.
Last year's "Antigone" was split in two by reason
of Miss Anglin's very understandable unwillingness
or incapacity to adapt herself to a style of production
entirely unlike her own. The mistake was probably
Mr. Henderson's in planning to use both her and his
new style in the same production. In last year's
performance the re-translation was to be achieved
in motion. Miss Anglin stood stark still and declaimed
(as sensitively as could anyone in the Ameican
theatre probably). Perforce, one ignored the produc-
tion and listened to Miss Anglin. One's experience,
needless to recall, was unbalanced.
This year the matter is different (as the very evi-
dent sympathy of intentions between all involved in
the long rehearsal Sunday afternoon clearly showed).
In that rehearsal, it was very clear that those in-
tangible feelings for the motives and values of Soph-
ocles' play which Miss Yurka had in her voice, Miss
Graham had i.her body. Only a word from one
to the other and everyone on the stage (principal
and chorus) were sensitively summoned by one or
the other into the same emotional tone, into the
same plastic rhythm. The result last night was, a
production rigorously unified to the one style. That
style -realistic rather than formalised, full-respond-
oding, rather than austerely moderate, completely
theatric rather than merely recitative was (from
what I know) entirely untraditional. It was also en-
tirely valid. The final test of validity rests on the rela-
tion of the experience which the style conveyed to
us to the words that Sophocles wrote. If anything
was conveyed which one felt was not implicit in the
text, then the style is invalid. In this reviewer's
experience of the play and the production there was
nodisproportion,
Banche Yurka's Electra is surely the most thrill-
i ing and splendid performance Ann Arbor has wit-
nessed in some time. Comparison with Miss Anglin,
I think, is the most illuminating focus for under-
standing what she does. Miss Anglin was strictly in
"classic" style. She\ boldly sacrificed most of the
functions the modern actress can summon and con-
fined herself to declamation (in the best sense). Miss
Yurka (with an entirely different training and back-
ground) just as boldly employed all these functions.
Miss Anglin relied on her sustained power and fluid-
ity of speech; she projected her intense realization of
the tragic magnitude of Antigone largely in the fine
meaningful curves of tonal beauty in her recitation.
Miss Anglin substituted for the Greek mask an im-
mobility of pantomime. Similarly, she remained
throughout statuesque. Miss Yurka called more
powers into play. She rseponded fully to Sophocles
lines with all her various powers of voice, body and
face. She as an actress seemed forced to respond
fully to the lines she was speaking with such power-

ful inflections. Her effort was to make fully explicit
everything in Sophocles' lines. The measure of that
aim is th emeasure of her extraordinary achievement.
The difference in styles involves something more
fundamental. A richer experience of character is
afforded by Miss Yurka. When Miss Anglin gave her
"Electra" some few years ago in New York, the New
York Times said with admiration: "Miss Anglin's
Electra is not a person but a sublimation of justice
purging the house of Atreus." They said that with
admiration because previously Aristotle had said that
that in Tragedy, not character but plot counts. And
urther because the depersonalisation and ublima-
tion which Miss Anglin achieved is faithful to 'the
fundamentally ethical temper of the Greek mind and
Greek tragedy. Those are indisputable truths. But
the fullness of character which Miss Yurka (legiti-
mately) found in the lines suggests that Miss Anglin
is too much impressed with those truths, that her
style is an extreme simplification. Miss Yurka knew
those two truths. She knew Electra's impersonal,
religious and ethical nature. She showed very mar-
vellously that Electra was preserving her original
response of horror to a deed against the Gods; with
all its pain, with all its intense emotionality until
such time a§ the Gods would by an act of righteous
venegeance }purge her of it. She spoke the line "I
was the same in spirit then" (at the time of the
murder) w1th religious pride. She definitely pointed,
such lines to the chorus as "I do not wish to leave my
grieving" and "for if the dead shall be there in his
woe. and they shall fail to pay the penalty of blood,
then should all fear of Gods from earth decay and

horror. It isthese tremendous emo-
tional difficulties which time and
circumstances inflict on her faith
in "that eternal not ourselves that
makes for righteousness" which are
the test of Electra's strength in that
faith and of her greatness as a
character. Miss Yurka made those
emotional difficulties explicit with-
out destroying the drama's "steadi-
ness and wholeness." And that task
was probably the sternest test she
has ever met as an actress. Actually,
I think, it is a todgher test than
Miss Anglin meets. Again I repeat,
traditionalists have a right to in-
sist on Miss Anglin's classic simpli-
fication and reserve and suggestive-
ness only if Miss Yurka's fullness
and explicitness conveyed anything
not true to Sophocles.
The function of Martha Graham's
interludes is more difficult to de-
cide upon. The producer's logic is
clear enough. We know that danc-
ing was an essential part of Greek
productions; we know that the
dances were meant to be not mere-
ly decorative but expressive; but
we know very little about the na-
ture of those dances; and again
that little is impracticable in the
Mendelssohn Theatre. So a single
dancer is chosen to make intelli-
gible in rythmic terms certain
qualities of the play.
That, in itself, is excellent. But
the Greek dances undoubtedly were
ceremonial, ritualistic: interpret-
ing the religious and ethical values
of the play. Miss Graham chose, I
think, to interpret rather he in-
tense emotions and the frenzy set
forth by a temporary disruption in
the religious scheme. In her invo-
cation, it was a tone of intensity,
feverishness that was set. In her
other two dances she was trans-
posing the agonies of Electra (Elec-
tra presented with the urn) and
predicting the furies soon to be
loose. It seems probable that in
thus shifting the emphasis to the
nervosities, to the intensities in the
play, a certain proportion in the
production taken as a whole is pro-
duced that is not faithful to the
play. One cannot be positive in this
judgment, however, unti a second
or a third experience.
The dances in themselves were
amazingly vital and direct and ex-
cellently executed. Detais like the
prediction of the two deaths in the
climax of the second dance by the
two thrusts at the great door, were
profoundly relevant and richened
the experience of the play. More ex-
periences of the production may, I
think, disclose more of these details
anc bring them all into a coherent
relationship with the play.
Amy Loomis gave an admirable
interpretation of Chrysothefis -
tender, vacillating, unable to pre-
serve her reaction to Agamemnon's
'murder, yet somewhat in the right
in lamenting the "brain-sickness,,
Electra's religious determination
has produced in her. In all her
scenes with Miss Yurka, Miss Loom-
is was extremely .sensitive to the
tempo of things. Similarly, Robert
Henderson acted and timed well
that finely contrived recognition
scene. 'Doris Rich as Clytaerniestra
had excellent presence and an ex-
cellent conception of her part, but
her speech was alternately too
florid and too broken. She wasn't
able to get all the conversational

inflections into her voice and still
m a in t a in pattern beneath her
phrasing. The movement and reac-
tions of the chorus were admirably
planned. There is a noticeable self-
consciousness and lack of absorp-
tion in their execution of them,
however. Their speech lacks con-
viction too.:
The production employs a simple
and impressive set which handles
the pictorial possibilities of the play
excellently. In the broader rhythms
of the productioiv there was con-
stant sensitivity to the skillful
manner of the play's up-building.
Mr. Henderson deserves great
credit for his production. It is 'as
far superior to anything last year
as 'the general conception of the
Festival this year is to last year's.
It will take a great season to avoid
anti-climax.
MARTHA GRAHAM RECITAL
Miss Graham is to preceed the
Thursday matinee this week of
Strindberg's "The Father" with a
solo dance-recital. The program
is said to include the best numbers
from her various New York reci-
tals this season. It follows:
Danse..............Honegger
Lamentation .............Kodaly
Four Insincerities .....Prokofieff

An Industry's Program
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This single step projects on the horizon the following bene.
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No wonder textile markets are stronger! No wonder the
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Underneath all this new progress there will be found, as
' usual, a McGraw-Hill publication. Textile World long ago
urged the'abolition of night work for women and minors as
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So in many industries, today, you'll find a McGraw-Hill
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Student Guests
VF, Li Tao-Hsuan, a Chinese student, has been
ordered deported from the United States for
essed subversive activities against the United
es-government, membership in an organization
eating overthrow of the government by force
violence, and entering the country under false
nses.
Vere this case other than the above statement
ates, it would be just another ;eportation.
ever, an interestin- fact enters the case,

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