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April 19, 1953 - Image 4

Resource type:
Michigan Daily, 1953-04-19

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SUNDAY, APRIL 19, 1953

US -.

Let's Have
More Apathy
THEY MUST keep typewriters glued to
the laps and chained around 'the ankles
f writers on the California "Pelican."
Otherwise, from the sound of things,
said writers might never conquer their
innate APATHY (a disease not rare on
this comparatively Eastern institution)
and apathetically plonk out an article
which appeared in a recent issue of their
campus magazine.
It seems, according to the "Pelican," that
California has got apathy too and has even
organized a Student Apathy Committee,
which the "Pelican" is apathetically en-
thusiastic about.
"If we have ever heard a good idea in our
lives, it is this one about establishing a
committee to further student apathy," a
recent editorial commented.
"There is nothing we like to see more
than a student apathetically dozing
through a lecture or just sitting on a
bench at the Campanile, thinking of
nothing. The idea that one should always
be running around going to classes, at-
tending rallies and meetings and or-
ganizing committees is a subversive one
planted at the beginning of the Industrial
Revolution by the IBM trust which is
seeking to wear human beings out en-
tirely and replace them with machines."
The "Pelican" suggests ripping out par-
titions in several buildings and creating
apathy rooms to replace publication offices
and committee rooms, where all the student
leaders could sit around a big table playing
chess, carrying on unheated discussions or
just looking at the ceiling.
Such an apathy committee on our own
campus seems called for in view of the pres-
ent, recognized trend-a sluggish one ad-
An apathetic University youth means an
apathetic world in the future. If there
were only a little more apathy, there
wouldn't be discord over women in the
Union or discontent over bias clauses in
fraternity constitutions or disagreement
over Daily music critics who carry music
scores to concerts at Hill Auditorium.
There wouldn't be any Union or fraterni-
ties or music critics at all, for that matter.
Concentrated apathy might even lead to
the extinction of war and ulcers and high
blood pressure and social pressure and
collapse the chlorophyll market com-
So let's all get behind this movement and
really push-well not too hard, apathetical-
ly, of course. -Gayle Greene
At the State ...
CALL ME MADAM, with Ethel Merman
and Donald O'Connor.
WITHOUT the usual pretensions this mu-
sical sets out to spoof the State De-
partment and diplomats, and succeeds mar.
velously well. As a starting point the story
makes use of Pearl Mesta's appointment as
Minister to Luxembourg, but after two
minutes It is obvious that any attempts to
take it all seriously would be a mistake.
Ethel Merman, too long absent from
pictures, portrays the lady diplomat and
hostess. In the midst of ultimate dignity
and suave manners she blusters her way
through the party set of two continents,
taking everything in her not too ladylike
stride. Her singing is in the incomparable
Merman fashion, but she seems just a bit
restrained; perhaps the film censors hov-
ering about cramped her. Nevertheless her
flamboyance is one of the major attrac-
tions of the film.
Donald O'Connor plays the Madam Am-
bassador's "press attache," but his duties
are confined to flirting with the princess of

Lichtenburg, the mythical principality to
which Miss Merman is sent. The usual
complications make everything seem quite
hopeless, but we can always anticipate the
best in a story of this sort.
The central problem of the movie is
whether or not the United States should
loan Lichtenburg a hundred million dol-
lars; while Miss Merman is in favor of it,
the local foreign minister, George San-
ders, is opposed to it. The paradox is
further involved when O'Connor learns
that if the loan goes through he has no
chance with the princess. The solution,
when it comes, is satisfactory to all, and
the stars-Merman & Sanders, O'Connor
& Vera-Ellen-are paired off in the cus-
tomary way.
While Miss Merman's telephone chats
with "Harry" about "Margaret's" recitals
tend to place the picture in a lost era, there
is still enough color and excitement to
make it a worthwhile film. -Tom Arp
THIS QUESTION is more often asked
and harder to answer than any other
question of the present day. Considered
solely from the point of view of etiquette,
the answer is NO. Considered in regard to
a girl in her teens or to a young woman
who is not very worldly-wise, the answer is
No. In fact, it is a question that had not
even a proper place in the earlier editions
of this book. Any attempt to apply the rules
of propriety to a young woman's going alone
fn fn aarfmnf f o an .ymill h fh

Western Star

The Present State
Of the American Drama

(EDITOR'S NOTE: This isnanother in a week-
ly series of commentaries on current topics by
prominent University faculty members. Today's
author, Prof. Marvin Felheim of the English de-
partment, has just returned from a spring va-
cation tour of New York theatrical productions.
Prof. Feheim has been active behind the scenes
in local drama, as a member of the advisory
board of the Arts heater Club and as translator
for one of the group's fall plays, "Cross Purpose"
by French playwright Albert Camus.)
Professor of English
THE DIFFICULTIES attendant upon an
analysis of modern drama are both ob-
vious and dangerous. Dramas are not de-
signed primarily for the library (despite
the prevalence of plays, including movie
scenarios, available in book form) but for
the stage. Yet one must make two im-
portant reservations in this connection. The
first is that we, as theater-goers, seldom if
ever clearly perceive the pure and unadult-
erated work of the dramatist; we see the
finished product as it has been doctored by
the producer and his associates. The second
caution that we must bear in mind is that
dramas must be judged, if not initially at
least eventually, on other than mere the-
atrical merits. Plays involve characters who
use language; and there is artistic form to
the drama. As a consequence, sooner or
later every work of dramatic art will be
subjected to scrutiny by critics whose stan-
dards are based upon their awareness of
these qualities.
If one looks at the major serious pre-
sentations currently being offered on
Broadway, one can arrive at some perti-
nent conclusions about the state of play-
wrighting and consequently the status of
the drama in America today. (We must
leave out the most prominent category-
musical comedy-as not being entirely re-
levant to our discussion; yet the signifi-
cance of this particular form, its domin-
ance of the theatrical scene, its use of
plots from novels or other plays, and its
blending of music, dance, scenic design,
costuming and other details represents in
the most obvious way the tremendous im-
pact of "theatrical" devices upon the the-
ater.) Tennessee Williams is our most pub-
licized "poetic" dramatist. Yet one can
read the texts of any of his hits ("The
Glass Menagerie," "A Streetcar Named
Desire" or the current "Sixteen Blocks on
the Camino Real," ten blocks of which are
available in American Blues, published in
1948) without being even slightly aware
of poetry; indeed, one is embarrassingly
aware of the rather thin quality of Mr.
Williams' prose much of which reads as
though it were lifted from a social history
prepared by a somewhat imaginative case
worker in some good social agency.
The poetry, or what has been called po-
etry, has been provided by scene designer,
by choreographer, by composer, by actor,
by producer. One must conjure with the
names of Laurette Taylor (the movie ver-
sion of "The Glass Menagerie" is an exact
case in point: the really bad performance of
Gertrude Lawrence illustrates the shallow
quality of the role and points out by con-
trast just how much Miss Taylor assisted
Mr. Williams here), Marlon Brando, Jo Mi-
elziner and, especially, Elia Kazan before
one can adequately evaluate Mr. Williams'
achievement. They have enhanced his sug-
gestive scenarios with poetry.
In a different way, many of these same
observations apply to the works of Arthur
ON THE WAY, by Ilelge Krog, presented
by the Arts Theater Club.
ALTHOUGH the Arts Theater Club has
gone a fall and a spring season without
producing a single full-length play by an
American dramatist, their predilection for
Europeans, particularly those little-known
in this country, seems more than justified
with their introduction of Helge Krog, whose
play "On The Way" is the final production
of the regular season.

It is a show much above mere custom-
ary competence, being both a brilliant dia-
lectical workout and a strangely stirring
drama about the most unlikely of sub-
jects-the unmarried mother. Shakes-
peare, Sophocles, and Synge notwithstand-
ing, this is the one show in the spring
season that certainly should not be missed,
not only because there will be few chances
to see this man's work performed, but
also because you will not often see the
Club challenged by a group of more com-
plex roles.
"On The Way," a long, eventless play, is,
first of all, not "good theater." Hooray.
The production problems consist in bring-
ing reality to the characters in the drama
and meaning to their conflicts. Recognizing
this, Director Strowan Robertson has kept
"set" at a minimum and gone a great way
toward exploring the inner workings of
seven people during a certain week in
February of 1931 somewhere in Norway.
For his integrity, his singleness of pur-
pose, his endeavor to say something sub-
stantially complicated in the medium of
drama, however, Krog can hold his own
with anyone. While scorning contrivance,
while giving his characters their head, as

Miller. Miller's recent doctoring of Ib-
sen's "An Enemy of the People" gives us,
if we needed one, the necessary clue. As
Ibsen did and as any playwright pretend-
ing to seriousness since G. B. Shaw erup-
ted into the theatrical world must do, Mil-
ler concerns himself with ideas; he also
has an amazing knowledge of dramatic
form. But his characters suffer as a con-
sequence of being subservient to rather
than the embodiment of ideas and they
lack individuation because of the inade-
quate speeches they are given to speak.
This is especially true in the very moving
play, "The Crucible," which achieves its
success largely because of its pertinent
theme; had it been produced at another
time, when no witch-hunts were sweeping
our country with fear, its impact would
be greatly reduced; it would perhaps be
regarded as an interesting "period" piece.
For its language is pedestrian, and its
characterizations are weak.
These failings (and they are true of oth-
er playwrights even more than of Mr. Wil-
liams and Mr. Miller: one does not need to
name the shabby plays to which such superb
actresses as Shirley Booth and Geraldine
Page are currently giving life; on the other
hand, one needs only to mention the very
successful revivals of Shakespeare and
Shaw, revivals which demonstrate the eter-
nal appeal of great art) are the result of
the kind of standardization which has fre-
quently become typical of American life.
The standardization in this case is that
which sets up technical excellence as the
sine qua non of a production and which
then tends to presume that technical ex-
cellence alone is sufficient to guarantee sue-
cess in the theater; the consequence is that
"Play Doctor" Joshua Logan, for example,
becomes the "genius" responsible for any
number of Broadway hits.
His method is what might be called the
"gimmick" approach (one installs a swim-
ming pool, one "discovers" and exploits
a Ralph Meeker, one rearranges another's
scenes or lines). Success is contagious;
gimmicks become magic. No less magical
has been the influence of the movies and
of television, influence which has also had
a deplorable effect. For ideas and lan-
guage must be reduced to the level of
comprehensibility of the average thirteen-
year-old; and Aunt Minnie, who cries as
copiously over the joys of Ma and Pa Ket-
tle as over the quiet desperation of Willie
Loman becomes the ultimate critic. We
have paid the price for our sentimentality:
what we get is vulgarity; a frequently de-
based and a consistently overpraised form
of art results. (One wonders whether in a
democratic society we must not abandon
classical definitions of art or at least
modify them; perhaps, indeed, we need
new and altogether different definitions.)
And yet the situation is by no means all
evil. The technical skills which our theater
has acquired from various twentieth-cen-
tury developments could be put to good use.
Staging techniques are means by which great
plays could be made into great productions.
But they are means, as are other techniques
available to the playwright-language, char-
acterization, the dramatic ordering of
theme-and not ends. Our playwrights must
learn to use them, all of them, to create
great art; but our artists must not allow
themselves to become the victims of mere
technical skills.
The social dialectic of his play is dated
in a sense; yet, more accurately, may be
ahead of its time. In an age when Com-
munism is a scare-word, it is good to see the
subject approached with a sophistication'
not only beyond McCarthy, but also beyond
Marx. The drama subsumes all popular or
purely economic interpretations of the doc-
trine. Its echoes indeed are not out of the
Manifesto, but out of Plato's Republic. The
supra-Communistic resolution is at once

human, tragic, and far beyond ideological
With all this expert rawrmaterial, the
Club did an exceptional first-night job.
Only occasionally in the long running-time
did the actors lose concentration or miss
the finer nuances of the characters they
portrayed. Again this was Beth Laikin's
play. Her remarkable success in the gruel-
ling role of Cecelia clearly marks her now'
as the class of the company.
Jerry Richards, as the fascinatingly pois-
onous father, shows up very well, particular-
ly in a critical final scene with his daughter.
Robertson himself is surprisingly effective
as a suitor. The important role of Trane,
the Communist leader, is sensitively per-
formed by Ken Rosen although his final
revelation seemed a shade underplayed.
John Devoe, as the young radical, had
some especially good moments and a few
that seemed more oratorical than they need
to have been. Bette Ellis, the mother, might
have projected her muted clubwoman atti-
tude a little more positively although her
conception of the role was good. Konrad
Matthaei, a newcomer, was chiefly a comic
nI .Pn-no.... nn lln nh -hrn. hnri , nla

University of Michigan
May 29 - June 9
NOTE: For courses having both lectures and recitations, the
time of class is the time of the first lecture period of the week:
for courses having recitations only, the time of the class is the
time of the first recitation period. Certain courses will be ex-
amined at special periods as noted below the regular schedule.
12 o'clock classes, 4 o'clock classes, 5 o'clock classes and other
"irregular" classes may use any examination period provided
there is no conflict (or one with conflicts if the conflicts are ar-
ranged for by the "irregular" classes).
Each student should receive notification from his instructor
as to the time and place of his examination. In the College of
Literature, Science, and the Arts, no date of examination may
be changed without the consent of the Committee on Examina-
tion Schedules.





Time of Class

The Daily welcomes communications from its readers on matters of
general interest, and will publish all letters which are signed by the writer
and in good taste. Letters exceeding 300 words in length, defamatory or
libelous letters, and letters which for any reason are not in good taste will
be condensed, edited or withheld from publication at the discretion of the
First Come. Herbert C. McKay, a prominent
To the Editor: American authority on stereo-
FIRST allow me to apologize for photography, *rote in 1948: "It
daring to enter a situation must be kept in mind that stereo
which has hitherto been inviolate projection per se is an accomplish-
wsoed fact, but the practical objection
to males by university regulation lies in the fact that in America
i.e. coed housing. If I show ig- the system will never be consider-
norance to a few particulars it is ed commercially practical as long
because deep penetration into as the spectator has to do any-
these sanctuaries has not been pos- thing to aid in the reception of
sible. However it is the major prop- the stereo images. This means that
ositions which are stated that a- individual viewers cannot be used,
pear to me as important, not the no matter what their nature. It
minut cker and Fran Sheldon means that special positions can-
have more justly found the cause not be tolerated . . . Thus, when
of the recent April Fool's Day e- we discuss the failure of stereo-
oen the cenriyoog'sratepi- scopic motion pictures, let us lay
sode in the university registration the blame where it belongs-not
system for League housing; as op- upon stereo, not upon the meth-
posed to the customary " head in pouseutnupo heeno
the sand" attitude of the admin- oderused, bthupontton-o
istration which finds all things aEoyntof the spntatof a
"disciplinary problem." Howeveri Enjoyment of the content of a
the remedy they offer is itself film sometimes requires a kind of
fraught with consequences which cooperation withdefendistory Wpit
would prove more harmful to the of "Bwana Devil," I suggest that
university community than the Mr. Arp's reviews might be more
faults they seek to overcome. The favorable if he were more cooper-
"first come, first served" policy is ative in this sense.
incompatible with presentdorm-John H. Borrowman
regulations-however it does af- -onH orwa
ford housing based on early ris-
ing rather than looks, money, good.
clothes or "connections." The
method of registration and accep- + +
tance proposed would have the ef-
fect of extending to the, as yet,
democratic League housing the SityThid Year
qualities of sorority and fraternity Edited and managed by students of
exclusiveness and "we chose you the University of Michigan under the
because you are our kind of per- authority ,f the Board In Control of
son" (that is, the "right" kind.) Student Publcations.
Martha Cook, by endorsing the
proposition that the isolation of Eitorial Staff
a few qualities plus an interview Crawford Young .... Managing Editor
with the house-mother has gained, Barnes Connble..........City Editor
on l Sara ....... Editorial Director
from the effects of "choice" onZarolarder DFeature Edtor
some of its inmates, the uncompli- Sid Klaus . . Associate City Editor
mentary title of the "only unaffil- Harland Britz ........Associate Editor
iated sorority on campus." The Donna Hendeman.. Associate Editor
Ed Whipple........Sports Editor
dorm and League housing systems, John Jeke ... Associate Sports Editor
for all their faults, do not recog- Dic Seell ... -Associate Sports Editor
nize the superiority of white over Lorraine Butler ........ Women's Editor
Mary Jane Mills, Assoc. Women's Editor
black, gentile over Jew or a 3.2 Don Campbell.... ..Chief Photographer
over a 2.2 when it comes to hous-
ing. The Greeks found choice by Business Staff
lot the most democratic. Though Al Green.... ....... Business Manager
this is not in all cases feasible I Mitt Goetz........Advertising Manager
believe it would serve well enough Diane Johnston. . Assoc. Business Mgr.
in university housing. It would Judy Loehnberg . . Finance Manager
eliminate the present ridiculous Harlean Hankin Circulation Manager
situation yet would not encourage Teephone 23-24-1
the exclusiveness which is the re-
sult of "selection." Member of The Associated Press
-Leo D. Vichules Tne Associated Press is exclusively
entitled to the use for republication of
'Biwana Devil'. * all news dispatches credited to it or
.oth Eit*:otherwise credited to this newspaper.
Tthe Editor: rtAll rights of republication of all other
rr OM ARP'S criticism of the matters herein are also reserved.
three-dimension process used Entered at the Post Office at Ann
in the film "Bwana Devil" was Arbor, Michigan, as second-class mail
perhaps typical of an attitude de- Subscription during regular school
scribed in the following quotation.year: by carrier, $6.00; by mail $7.00.
t~f 5URCKtrr i v;

w 'I
flwt it MAP 1




Time of Examination
Friday, May 29 9-12
Saturday, May 30 9-12
Tuesday, June 2 9-12
Thursday. June 4 9-12
Monday, June 1 9-12
Wednesday, June 3 2-5
Friday, June 5 2-5

(at 8 Thursday, June 4 2-5
(at 9 Monday, June 1 2-5
(at 10 Wednesday, June 3 9-12
TUESDAY (at 11 Friday, May 29 2-5
(at 1 Saturday, May 30 2-5
(at 2 Tuesday, June 2 2-5
(at 3 Friday, June 5 9-12
These regular examination periods have precedence over
any special period scheduled concurrently. Conflicts must be
arranged by the instructor of the "special" class.


Sociology 51, 54, 60. 90
English 1, 2
Economics 51, 52, 53, 54
Chemistry 1, 3, 4, 6, 12
Psychology 31
Botany 1, 2, 122
Zoology 1
French 1, 2, 11. 12, 31, 32
German 1, 2, 31, 32
Spanish 1, 2, 31, 32
Political Science 2

Saturday, May 30
Saturday, May 30
Tuesday, June 2
Friday, June 5
Saturday, June 6
Saturday, June 6
Saturday, June 6
Monday, June 8
Monday, June 8
Tuesday, June 9
Tuesday, June 9


Special examination periods will be arranged by instructors
for degree candidates in the group finals that occur June 6,*
June 8, or June 9: separate lists of degree candidates will be
furnished only for these special exam periods.
* Degree candidates may take exams on June 6, instead of
having special exam periods, however, only 24 hours are avail-
able until the final due date for grades to be filed with the
Registrar's Office for degree candidates which is Sunday, June
7, at 4 p.m.
Courses not covered by this schedule as well as any neces-
sary changes will be indicated on the School bulletin board.
Courses not covered by this schedule as well as any neces-
sary changes will be indicated on the School bulletin board.
Individual examinations by appointment will be given for all
applied music courses (individual instruction) elected for credit
in any unit of the University. For time and place of examina-
tions, see bulletin board in the School of Music.
Courses not covered by this schedule as well as any neces-
sary changes will be indicated on the School bulletin board.
Courses not covered by this schedule as well as any neces-
sary changes will be indicated on the School bulletin board.
* * * *
College of Engineering
May 29 - June 9
NOTE: For courses having both lectures and quizzes, the
time of class is the time of the first lecture period of the week:
for courses having quizzes only, the time of class is the time of
the first quiz period.
Certain courses will be examined at special periods as noted
below the regular schedule. All cases of conflicts between as-
signed examination periods must be reported for adjustment.
See bulletin board outside of Room 3044 East Engineering Build-
ing between May 12 and May 19 for instruction. To avoid mis-
understandings and errors each student should receive notifi-
cation from his instructor of the time and place of his appear-
ance in each course during the period May 29 to June 9.
No date of examination may be changed without the consent
of the Classification Committee.




Time of Class




Time of Examination
Friday, May 29 9-12
Saturday, May 30 9-12
Tuesday, June 2 9-12
Thursday, June 4 9-12
Monday, June- 1 9-12
Wednesday, June 3 2-5
Friday, June 5 2-5
Thursday, June 4 2-5
Monday, June 1 2-5
Wednesday, June 3 9-12
Friday, May 29 2-5
Saturday, May 30 2-5
Tuesday, June 2 2-5
Friday, June 5 9-12


EE 5
Economics 53, 54
Drawing 1
rp, 9, 21)

Saturday, May 30
Tuesday, June 2
Tuesday, June 2
T,,-,rinY ,,mp r

9 -r


* r

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