* i . f'* v »THE GREY CITYJOURNAL Number Nine January 10, 1969Living Theater at Chicago| ll fiA lVi'S J"i JBeck Answers Theater’s CriticsJulian Beck speaks!!Julian Beck and Judith Malina (Mrs. Beck) have beenworking in the theatre since the late 1940’s as actors,directors, and designers. During the 1950’s they andtheir group of actors performed in a number lofts. Theyperformed works by avant garde playwrights and gavenew productions of old playwrights. In 1964 the InternalRevenue Service brought charges against them for in¬ability to pay back taxes. Soon after that they and anumber of members of their Living Theater left to goto Europe where they have been touring ever since.They will be traveling in the United States until thespring when they will return to Europe.The Living Theater has stimulated critics to newheights in their attacks. Here they are given a chanceto answer their critics.They are being interviewed by Jessica Siegel.Eric Bentley feels that making certain people so madthat they leave the theater and go home should not bethe aim of the theater. Do you think so?Judith Malina: I think that the aim of the theater alwaysis to move people in such a way as to change themprofoundly. I think that sometimes it happens that peoplewho leave the theater angry are changed by wnatthey’ve experienced; in that case it’s useful. I feel per¬haps they would have gone even further in to it if theyhad stayed but for them perhaps that’s the right action. Idon't know if we can always judge the degree to whichthe spectator has been changed, transformed, in someway mutated by whether his reaction is in some waypositive or negative. Of course we are aiming for a posi¬tive reaction. We would like to fill the spectator with joy,a great glow and great revolutionary hope. Howeversometimes there are spectators in whom that road has tostart by being shook up a little and if that is necessaryfor that spectator that might be good. Now sometimesthat might not be good. Sometimes just the spectatorwho might have been most moved left before the scenethat most moved him and that’s then unfortunate.Julian Beck: We try to reach the spectator throughmany devices, many means, some of them metaphysical,penetration through the skin, the use of disturbing sym¬bology. the stirring up of some emotions that one mightregard as negative such as irritation, annoyance, hys¬teria, revulsion, boredom. But sometimes it is these verythings which will force a spectator to take direct actionto the degree that he will get up and leave the theaterbut that he will become so mad that he will become sofeelingfully angry that he will split. But this may be theway that will simply begin his particular journey to¬wards real change, that is to a personal revolution. Therevolution is not possible without each of us undergoing apersonal revolution.He also says by making the characters remote fromreal life (he compared your Creon to Ubu Roi) you arenot making the parallel to present day event clearenough. For example he suggests presenting a Creonwith a splendid liberal record. You reject that — why?Julian Beck: I think that in the modern theater Creon isalways played as a liberal with a splendid record andthis is the way we are used to see our statesmen. Weknow they are like that on the surface: they are calm,pleasant, intriguing, elegant, rational and the moderntheater-goer is aware of that. He has enough portraits ofthat certain man on television but we try to show, what Itried to show was the real Creon, not the surface person-* j fJ-'j i Dil *The Grey City Journal ality. I wanted to give the spectator the opportunity toknow what the statesmen is really like. What I was try¬ing to do was give a portrait with many facets but allwhich displayed the perversity, the sickness, the irratio¬nality, the actual irrationality in the thought of this man.So that instead of giving an old-fashioned realistic pic¬ture which lies, which does not tell the whole truth,which says see see this man is a rational creature, I amtrying to say to the public: “This man who is in thepublic, do you not see it, a person who is very deeplydisturbed.Judith Malina: The difference in this instance that Julianis talking about is to show the gentleman of the confer¬ence table and the signature that he signs in the trail ofblood and murdered babies.Bentley criticizes the Living Theater as having thecharacteristics of a revival meeting. Do you feel this isyour definition and your approach to a political theater?Julian Beck: I think the purpose of the theatre is toserve the needs of the people. At the present moment inhistory it seems that the people need revolution, thepeople need change. We know that the system withinwhich we live, the structure of the society at the presenttime, is poisoning life on the planet. Consequently whatwe are trying to do in our theater is to bring people to apoint which they not only question the environment aboutthem but take direct action, take direct action. That isthe intellectual theater of the 20th century has been atheater in which people think, that is they go to thetheatre, a problem is put before them, they think aboutit, they go home and they think some more about it, andit dies inside the brain, dry and corrupted by the simplefact that it does not go from thought into life itself. Sothat in our work in the theater we have tried to bringpeople to the point at which they will take action. Andone of the means of doing that is to let people feel thejoy of taking action and if people can feel the joy oftaking action in the theater then perhaps they will ex¬tend this sense of joy and this desire for joy into lifeitself. I think that Bentley puts down action because heis afraid actually of action. Like the intellectual he seeksthe comfort and repose and security of closet thoughtand this is dangerous. We are trying to lead people outof the darkness of the confined chamber, the chamber ofthe mind, the chamber of the theater, out into the street.We are trying to revive sensation and revive feeling. Ifour theater works in that sense inspirationally I think ithas very much succeeded.Another one of his criticisms is that you perform a“pseudo-orgy” and limiting the lovemaking to petting.Are the g-strings merely protection from the variouslaw-enforcement bodies or do you believe that these“half-way measures” as Bentley would call themachieve the same effect as a real orgy? And are thesedevices compatible with your idea of breaking down thebarriers between art and life?Judith Malina: Let me say first of all that that is very,very funny what you just said. That the effect of a theat¬rical scene about the limitations of the law should havethe same effect as a real orgy and I think that is reallyfunny. And if Bentley said anything like that he is veryfunny too but I don’t think he did. In Paradise Now wedo a scene about the limitations the law sets upon us. Wepoint out that there are certain things we are not allowedto do including to take our clothes off. And we don’t takeour clothes off because we are not allowed to. And that’sreally all there is to say about that and the rest is news¬paper nonsense.Julian Beck: That is, in this first scene in Paradise weare defining the here and now and we define the hereand now as a soceity of prohibitions. We say that one isnot allowed to travel freely in the world, that you can’tlive without money, that we do ont know how to stop thewars, that we are not able to fulfill our desires which isrepresented by the fact that we are not allowed to smokemarijuana. Then we say we are not allowed to take offour clothes and we demonstrate this fact by taking offall our clothes to the legal limit because we want tomake it very clear to people: we are indeed locked out¬side of the gates of paradise. However the prurient.spectator is eager for us to take our clothes and resent¬ful when we do not and therefore in a sense misses themeaning of the scene itself.Judith Malina: The degree to which the spectator thinksthat this scene is about taking ones clothes off and not ascene about legal prohibitions is the degree to which theprurience of his mind is made perfectly clear. And this,of course, is exactly the painful and ugly result of thelegal prohibition.Do you feel that you can successfully cross the highbarrier Bentley seems to feel there is between the au-diance and the actor and invilve the disparate elementsin the audience in the performance?Judith Malina: YesJulian Beck: I think it happens in Paradise now. It is nota matter of giving a verbal answer to that, I think theactuality answers that.t’lUiJanuary 10, 1969 Bentley feels that in many ways the Living Theaterresembles the Establishment’s theatre of Broadwaywhile all the while espousing an alternate approach. Hegives as an example the fact that while saying you areagainst the “star system,” the fact remains that the twoof you are still stars or as he puts it “the focus of amystique of personality.” He gives for an example thefact that Antigone is interrupted to mention “the banish¬ment of Judith Malina from the United States.” He alsosays the fact that the Living Theater has produced noother directors other than the two of you is an exampleof this too.Judith Malina: Well there are several questions thereFirst there are the lines that are not written by Brechtinserted in Antigone. I think that perhaps I spoke ofAntigone’s banishment in Brecht’s lines in such a person¬al voice that a critic thought I was speaking of myself. Ican only take that as a compliment. However, I think, ona more serious level that this is exactly the kind of panicthat an astute mind can go into. There are several linesin this play which we address the audience directlywhich usually begin with something like: “Creon said:"or “Antigone said:”. They are a poem that Brecht wroteto accompany the rehearsal of his Antigone, his trans¬lation. We insert them in the play though Brecht insertedthem only in the rehearsal period and we leave themthere as explanations to the audience. In foreign coun¬tries we play them in the language of the country assubtitles. Again of course it is true that Julian playsCreon and I play Antigone. However I think that in noneof the other plays is Mysteries, in Paradise do we takeany role exceptionally or more dominantly than othermembers of the company. Of course Eric Bentley Knowsus a long time; he has watched our careers for twentyyears. The Living Theater has gone on for twenty yearsand he sees us as predominant like that. We don’t like tothink like that and the company does not think of it thatway. And I don’t know how much of the public thinks ofit that way. I think in Paradise, which is the most advance play, the newest play, the one in which we havetaken the greatest step there is no moment in whichJulian and I predominate for instance or in mysteries doI think that Julian and I predominate in any way at all.In Frankenstein we didn’t play at all and then Julianreplaced an actor who was ill and then played a pre¬dominate role. Otherwise I think this is a mystique inEric Bentley’s mind, once again very flattering to us butnot flattering to the concept of the Living Theater com¬pany at all.Julian Beck: I think also that two of the major directorsof other theaters in the country at the present time cer¬tainly began their theater work at the Living Theater.One is Joe Chaikin who is the director and founder, andthe leader of the Open Theater and the other is Law¬rence Komfeld who is the most prominant director at theJudson church in New York City.Judith Malina: We could mention serveral others but ifEric Bentley means that none of the directors and de¬signers who have come out of the Living Theater areworking on Broadway, thank goodness none of them are.But I think that if a look at the names of the peopleworking in all the important theaters today will showthat the Living Theater has influenced a lot of peoplea lot of people have gone out of the Living Theaterinto as interesting, more interesting experimental theaterwork.Judith Malina acts with company.2Audiences Give Theater Mixed ReviewsBy Farinda WestTHE LIVING THEATRE hit Chicago audiences withtwo radically different evenings of theater Tuesday andWednesday. Both evenings were totally successful des¬pite the fact that Tuesday’s audience walked out of Mys¬teries and Smaller Pieces annoyed and angry, whileWednesday’s audience applauded Antigone wildly for fif¬teen minutes. The performances were designed to re¬ceive exactly the responses they were given.Tedium was a constant element in Mysteries. The eve¬ning began with half an hour of an empty stage, followedby another half hour of a bearded man standing alone onthe stage in a spotlight, rigid and expressionless. Theaudience began to heckle him — “Encore! Get the hook!I'd hate to see the dead theater! — ” but he nevercracked. The rest of the group finally began an in¬tricately choreographed ballet but the annoyance contin¬ued to be an important part of the show throughout theevening. Instead of ending, each scene dragged on untilit blended gradually into the next. When action was in¬teresting or amusing, it was taking place all over thehall, so that one could rarely keep one’s attention fixedon one place or one actor.In general, humming and wailing and screechingserved in place of language. The only declarative sen¬tence spoken all evening was, “Unscrew the seat you'resitting in and burn down this university. Your technologyis killing our children.” The only other familiar use oflanguage was in “Street Song,” a chant based on shortpolitical slogans — “End the war . . . Abolish money . . .Feed the world . . . abolish violence . . . Open the doorsof all the jails . . . End the draft ... for peace.”The evening ended as slowly as it had begun, with anincredible scene of desolation of war. After a long sceneof wailing and dying, the living removed the shoes of thedead and placed the shoes on the stage. One by one, thedead were carried by their necks and ankles, stiff asboards, to the stage and piled into a pyramid five deep.The lights went out, but no one knew whether to applauduntil the lights started going on and off. The actors stoodthere, embarrassed, some bowing, some motionless,some applauding the audience. Signs of appreciationstopped suddenly both on the stage and in the house andaudience walked out.It seemed that by mistake we in the house werepresent at a ritual celebration impossible to understandand annoying to watch. But it seemed to be a total ex¬perience intensely rewarding for the participants. Every¬thing they did was more significant than sitting in Man-del Hall eavesdropping on a mystery. Furthermore,there seemed to be an order and meaning to the mysterycomprehensible only from within it. At one point, theactors locked arms in a circle on the stage; a beam oflight filled the ring. Their silence grew to a loud humwhich in turn changed to a chant and then a song with¬ out words. It lasted forever and was deafening. Itseemed that the God of the Theater had been invokedand was present in the circle and that nothing was moreurgent than to join his celebration. My hands shook somuch at intermission I couldn’t hold a cigarette.Despite the lure of the mysteries and the drain ofwatching them, they were impossible to join. First, thedemands on the body were gigantic. Second, except forone exercise, every event was precisely staged; onewould have to learn the dance to join the ritual. Third,one needed the mental discipline of a yoga to maintainconcentration — I don’t think that anyone who once stoodmotionless for half an hour while an audience hooted himwould ever live a normal life again. The whole castmaintained an unyielding concentration throughout theevening.Antigone was a play. We know what was happening,and we were familiar with the form — beginning,middle, and end, two actors and a chorus, prologue, epi¬sodes, and epilogue separated by choral songs.Two of the Sophoclean choral odes were very effective¬ly presented. For the choral ode “there are many mon¬strous things but none more monstrous than man” thechorus was in the aisles. A wraith woman shouted eachline directly into my face, six inches away. For anotherode, the chorus lay on its back waving its arm as thecorpse of Polyneices floated among them.We can be grateful to Brecht for the device that madethe evening comprehensible: narration. Before each ex¬change of dialogue, one of the actors explained in anormal voice what would happen. Brecht added a newending and gave Creon a second son. He also addedhumor.Most of the play, however, belonged to Julian Beck,Judith Malina, and the Living theatre. Borrowing fromLyndon Johnson, Richard Nixon, James Cagney, W. C.Fields, Punch and Judy, and Antonin Artaud, Beck is ahorrid and ridiculous tyrant. Malina’s Antigone hoversbetween misery and hysteria.The chorus threatened to swallow both the audience and the principals. They staged a terrific battle — SevenAgainst Thebes from the soldiers’ point of view. Incred¬ible human war machines mowed down the actors —chariots, battle axes, dart-throwers, catapults. Finally,all the actors were castrated, drawn and quartered.They withdrew into two choruses, leaving the corpse ofPolyneices lying on the stage.The corpse was a major character: Antigone madelove to him; Antigone and Ismene tossed him betweenthem; Creon dragged him around the stage. As a ghost,supported by Antigone and Haemon, Polyneices walkedover the prostrate Creon.The most annoying part of the production was the sty¬lized orgy. Lasting an hour, it dwarfs and jumbles allthat Creon, Antigone, and Teiresias do.The ending of Antigone was the most powerful scene ofthe two evenings. After the chorus realized that “theArgives are coming!” the orgy ends. As one body, theentire company was slowly pushed back against the wallby an invisible force. As they were being crushed, thelights went out. Thunderous applause.In Antigone, the revolutionary theme was stated in achoral aria: “Anyone who uses violence against hisenemies will turn and use it against his own people.”This explicitly anti-war theme, set within a dramaticstructure relatively famliiar to us was able to move theChicago audience, where Mysteries did not. But Mys¬teries is far more revolutionary and more potentiallysignificant. Out of elements of the drama taught in anyacting school, the Living Theatre has made a new reli¬gion, capable of ordering (or liberating) one’s whole life.To appreciate its action or to understand its mysteriesthe play demands complete preparation and dedication,but so does any religion. In the context of “unscrew yourseats” and “abolish money,” the question of whether itis theater or not is irrelevant — how can there be apaying audience with no seats and no money? If youhooted, heckled, and stoned the Living Theatre you cansay that they asked for it — Christ came to Jerusalem tobe crucified.Culture VultureThe University of Chicago finally did it. Imagine get¬ting a cultural attraction before Slippery Rock State Col¬lege! Julian Beck and Judith Malina (the Mr. and Mrs.Mao Tse-Tung of their own cultural revolution) and theirtroop will be appearing Friday, Saturday and Sunday at8:30 in Mandel Hall. Paradise Now has attracted thevarious representations of the Vice Squad in every city(except swinging Brooklyn) so Chicago’s own will prob¬ably not miss the invitation. The audience is an impor¬tant part of each performance and if you feel repressedbe sure to go to lose your inhibitions (better than aT-group). You may also witness quite a theatrical event.This weekend is the weekend of the Living Theater butfor all you who are anti-legitimate theater (or for illegiti¬mate theater, otherwise known as the bastard of thestage — the film) there will be a number of films oncampus this weekend.Doc Films (or the good old Doctor as it is now called)is presenting Jean-Luc Godard’s Band of Outsiders. Ithas been referred to as “Alice in Wonderland MeetsFranz Kafka”. It is about gangsters and love (no it isnot a remake of Guys and Dolls. Contemporary European Films is showing on Saturdayone of those films you hate to admit you haven’t seenwhen talking to any film authority La Dolce Vita. Arrivelate or through the back door (or laugh sophisdicatedlyand say, “I just wanted to see it again for the fourthtime” and nobody will know the difference.)On Sunday Contemporary European Films is present¬ing The Collector which is about a man who runsthrough a field with a net chasing a woman not but¬terflies. Watch your step girls or before you know it youwill be pressed and pinned and labeled “Femininae Chi¬cagoan”The Bergman Gallery is exhibiting a group of photoscalled “Before the War”. It is a very affecting collectionand unlike everything else around here there is nocharge or mandatory paper.Tonight and tomorrow night at 8:30 in the Disciples ofgreat medieval vaudeville show, The Play of Herod in aracy new translation by David Bevington, Professor ofEnglish, who knows Latin. It’s real thirteenth centurysynesthesia and ought not to be missed. It costs a buck.January 10, 1969 The Grey City JournalJean-Luc Godard is the filmmaker of the 60’s"Jean-Luc C.odard is the only contemporary director with the ability to expressthrough graceful cinema what young people are feeling at this time.Andrew Sarris, The Village VoiceA DOC FILMS presentation Band of OutsidersFriday January 10Cobb Hall7:15 and 9:30one dollar Bv the director of BREATHLESSTONIGHT and SaturdayThe Electric Theatre Co. presents atThe Kinetic Playgound4812 North ClarkALBERT KINGLINN-COUNTYSHOW STARJS 7:30-TICKETS AT THE DOORThis investmentstarts paying dividendsin three years.Most cars last aliout as long as the loans that pavfor them: three years.In Sweden, where it's tough being a car, Volvolasts an average of I 1 years.And while we don’t guarantee that a Volvo willlast 11 years in America, we do know that over95'■< of all the Volvos registered here in the last11 years are still on the road.So if you buy a Volvo front us now. it'll still beworth owning three years from now when you getit paid for. You'll be able to stop making car pav-ments and start making payments to yourself. Andinstead of paying interest to the bank, you’ll beable to have the bank pay interest to you.VOLVO SALES &SERVICE CENTER, INC.7720 STONY ISLAND AVE RE 1-3800 CINEMAChicago at MichiganMarsters American "Robertson'sperformance is so right it makes youfeel sure that no other actor in theworld could have played it so well."Lesner Daily News "Unusual film. Asensitive drama."Terry Tribune "Robertson gives oneof his finest performances and cer¬tainly his most outstanding since"The best Man."Ebert Sun Times"Three Stars"Cliff RobertsonClair BloomU#U ABI V"CHARLY$1.50with I.D. cardevery day but Sat. MR LOWEPRESENTSVanguard Recordson SaleList Reg. Lowes Now $359$r 79 $/| 59 per recordVanguard the Home ofBuddy GuyJoan BaezSiegal - SchwallCharley Musselwhite Eric AndersonBuffy Sainte-MarieSandy BullIan & Sylviaand the Best of Folk & BluesLook to Lowe’s for service. . .selection. . .savings1538 East 55th St.MUseum 4-1505 Mon - Fri 9:30 to 9Sun 12-5MORGAN’S CERTIFIED SUPER MARTOpen to Midnight Seven Days a Weekfor your Convenience1516 E. 53rd. ST. Terence StampTHE Samantha EggarCOLLECTORSun., January 12, Cobb, 7 & 9:15, $1 (Series Ticket $5), CEF4 The Grey City Journal January 10, 1969Beck Interview‘An effective theaterof commitment9Continued from Page TwoTo quote him, Bentley feels, “An effective theater ofcommitment, however dim a view it takes of the societyat large must perforce receive its quests with courtesy.”He feels your on-stage violence belies your non-violentespousals.Judith Malina: A lot of people feel that everytime yousay something passionate, you’re violent. Yes, one of ouractors here, Carl Einhorn says he should read Artaud.Yes, I think the theory of Artaud is really the answer tothis problem. I think there is a great difference betweenpassion and violence. I think politeness is the bane of theworld. I think that the statesmen who politely shakehands and sign the statement of war which then wouldkill thousands and millions of people and they politelyhave coffee together and say, “Well, I guess our coun¬tries will be fighting soon. Let’s sit down and have acivilized drink together.” And I think that the politenessthat takes in the parliaments of the world is the mostdeadly murderous action going today. And I think polite¬ness has a lot to do with it. I think that the politeness isa cover-up for the greatest evils on earth today. I thinkthat of course one should be loving at all times to one’sfellow man but that kind of fake courtesy, that kind ofpoliteness, that kind of smiling and speaking in a civ¬ilized tone while people are screaming and dying and inagony is exactly what the revolution is about.John Lahr criticizes you for basing your views ex¬pressed in the plays on and using the terms of suchin eliectual works as Norman O. Brown’s Love’s Bodyand R. Laing’s The Politics of Experience. It it is so,does this remani consistent with your view that you “arenot interested in the intellectual because it cuts off feel¬ing? Anyone can verbalize and agree with the war.”Julian Beck: What we are talking about is the process ofbeing exclusively intellectual. What we are looking for isunification on all levels of being and certainly unificationwith the body and the mind. The problem with the in¬tellectual is that he upholds the mental processes andcuts off the physical ones. We’re trying to put the twotogether. Now if we are going to relate to the minds, andstructure our plays to a degree about the mind, thencertainly our references should be 10 the most com¬pelling examinations of the mind we can find. And if wefeel R. D. Laing and Norman 0. Brown have somethingimportant to contribute concerning either anarchism ornew levels of experience then their work becomes part ofour work.But at the same time we’re trying to connect this withreal feeling. And it seems to me peculiar that Lahrshould make reference to this fact and leave our refer¬ence to the fact that at the same time and in the sameworks there is enormous reference to non-verbalism, pre¬verbalism, various forms of sensate expression that arefar from intellectual in form or expression.Judith Malina: This is an old-fashioned idea. It is abouttwenty years old that people have been saying either youare for Artaud and the physical or you’re for Brechtand the mental. It’s really become a very banal argu¬ment. Clearly we need both. If we were not part of whatthe revolutionary thinkers are thinking today, wherewould we be? We are, I suppose, serving the same revo¬ lutionary impulses that a man like Brown or a man likeLaing are trying to serve. Both of them would say thatthe physical and not the intellectual impulse are the im¬portant ones. That is, both of these men are crying outfor feeling; at the same time they are constructing theo¬ries. We want to take it now into first theatrical actionand then what we are working to do with the audience isto take into action beyond the theatrical into revolution¬ary action outside the theater.Lahr also criticizes the Living Theater for inflaming arevolution without discipline — it excites the audiencewithout pointing out a method. Does this attack merelysubstantiate your claim that you want to “plant appleseeds”?Judith Malina: Sock it to ’em.Julian Beck: If the revolution is going to happen becausethe Living Theatre has come out, it is not going to bebecause a group of actors, directors, designers, peoplewhose vocation is the theater have come out with a planfor revolution and for change. The revolution is going tohappen because it takes place in everybody’s head andbecause a large number of people are supplying the an¬swers and solutions. We work at this particular stage inrevolution as a programming cell. We are telling peoplewhat’s going on, where things are at, and suggestingvarious forms of action and trying to stimulate themtowards further action.Lahr also attacks the Living Theater from anotherangle calling it “a laxative for middle class hostility”. Ifit is such does this purging of therapy dull the chance ofany political action which might arise from conversion tothe Living Theater’s views?Julian Beck: We will learn the answer to that when therevolution does or does not take place I think. And if atthat time one is able to assess the little Living Theater’scontribution to it.Judith Malina: There is another contemporary sayingabout the Living Theater since I got on to the jargon linewhich refers to the day of the coming of the revolutionas the time when “the shit hits the fan” and if this hassomething to do with this purgative action, sure there isgoing to be a lot of shit and there’s going to be a lot ofwhat is binding us up and tying us up. It is going tocome out in great spurts of emotional, psycho-sexual,political revolutionary diarrhea and I would considerthat as in medicine when a person is severely tied up inthis way I would consider this a very wholesome effect. Idon’t think it is all of it and to begin to therefore saythat all one wants is that is again that same kind ofexcluding kind of nonsense where you say your eitheryou have this or you have that. The revolution of whichwe speak is going to take place on many levels. It’sgoing to many kinds of revolutions at once. It’s going tobe intellectual, it’s going to be heroic, it’s going to bephilosophical, it’s going to be political, it’s going to beeconomic and it’s also going to have a lot of shit comingout before it succeeds and that’s certainly part of it.Clive Barnes in defending Living Theater in an answerto Bentley suggested that Living Theater was leading theway from verbal theatre. Do you feel that words havebecome inadequate in presenting our present predica¬ment? Julian Beck: One of the problems is that we use tenpercent of the brain and the repressive form of civ¬ilization is such that we inhibit feeling and consequentlysince we do not thoroughly feel, do not really see, hear,smell, taste, we are feeding the brain with incorrectinformation. Now verbalization is the result of thethought process of this computer machine which isloaded with mis-information. Consequently we are sug¬gesting that if we can push towards a more feelingfulhuman being, a more feelingful situation we may comeout with finally a use of language which more closelyrepresents what the human not only really feels but real¬ly thinks. It is simply part of the way, that is, thisparticular stage in the development of theater, this as¬pect of theater, this anti-verbal aspect of theater is notonly represented by the work of the Living Theater butby many theaters in the world today is part of a process,part of a change. We are pushing as much as we canagainst the barriers of repressed feeling in the attemptto find something else.Concerning the theater as a vehicle of social change:considering the theater’s audience, especially in theUnited States — aren’t you going to expose yourselves toa small minority of the population?Judith Malina: I think that our plays will say somethingvery different to say, the bourgeois theater-goer, the rev¬olutionary student, to the bored student, to the theatercritic, to the intellectual, to the non-intellectual, but weare trying to say something which will have some mean¬ing to all those people. On the other hand, the economicstructure in which we, Living Theater, are trapped, feelstrapped and want to get out, of course, limits the possi¬bility of our speaking to people not only we want tospeak to, but also we want to hear from — the peoplewho don’t go to the theater who are the people we mostwant to play for. And here I would say the critic is rightwho says we don’t fulfill our entire duty. Somehow weshould go out and play in the streets. We believe that butlike all those people wno don’t do all the things theywant to do for the revolution here we think and say“How do we eat” which is everybody’s excuse and there¬fore is an invalid excuse. We have to try to figure outhow to get out into the streets, that’s what we’re lookingfor because while I think we can speak to all the kinds ofpeople who come to the theater because we’ve takenthem all into consideration, we can’t speak to thosepeople who don’t come to theater and those are the mostimportant ones.Julian Beck: If we are successful in finding the solutionto this problem and even if we are not successful infinding the solution to this problem, I think that thisproblem represents our next important work. We have tosolve how to get out of that theater which caters to thebourgeois elite which has the habit and the advantage ofgoing to the theater today, the cultural elite, usuallyclasses with the somewhat economically elite. That is wehave to get out of that architecture, we have to begin toget to those people who are damaged, destroyed, repres¬sed by the whole system to believe the theater is notfor them, that they are too stupid to go to the theater,that cannot understand it, that it doesn’t say anyhing tothem, that it bores them. Our work is to find them, getto them, play to them, and have meaningful dialoguewith them.5. ,v January 10, ,1968-“r ****The Grey City JournalFederico Fellini'sLADOLCEVITASat., Jan. 11, Cobb, 6 & 9:30, $1 (Series Ticket $5) CEF tbecnetnciGallery ^nd Coffeehouse NEWMENU^TTTTTpl famlninjcr Specialtiesa half-pound of groundK sirloin served.cn blackbaud with chips(all burqcrsserwdmedium-rare unless svcdfUd)Ham burger MediO LlO 5wect-5ourburger 1.40Cheddarhurger 1.20 5a lad burger 1.502uvi>sburger 1.20 Krjurhurgcr 7.50Onion burger 1.30 Sou rc rea m b urger 150O nion- Garlicbur^e r 1.50 Chumevburgcr 150R oq u cforth urge r 1.40 Bacon burger 1.50Olive burner /.40 ltalianburger 1 OOMush roo m bu rotr J .40 Mexican burger i.oOBarbecue burger l.-JOwith potato s Chili burgeralthi :2s otra J.70Clarktheatreenjoy ourspecial studentrate7RC a,a"/ T timesfor college studentspresenting i.d. cards ^at our box office• different double featuredaily• open 7 30 a.m.-lateshow 3 a.m.• Sunday film guild• every wed. and fri. isladies day-all gals 50clittle gal-lery for galsonly• dark parking—1 doorsouth4 hrs. 95c after 5 p.m.• write for your freemonthly programdark & madison fr 2-2843 Improvisation in Music: hast & It eslSCHEDULE OF LECTL KE-KECITALS & CONCERTSTuesday, Jarman'28Ml'SICOKTHE WEST: Jazz and Contemporary MusicFrank Tirro with Jan Herlinger, flute,and Dean Hey, tromboneSaturday, February I1 \/J. CONCKK r The Hunky Green SextetTuesday, February 11Ml Sic ok THE ft EST: From Improvisation to CompositionLeo TreitlerTuesday, February 25VH sic OK SOI TM INDIA Harold PowersFriday, March 7CONCKKTOK INDIAN Ml sic Ustad All Akbar Khan, sarodeTuesday, March 11Ml sic ok IK AN Ella Zoniswith Manoochehr Sadeghi, santourLecture-recitals will be held in Breasted Hall at 8:00 P.M.; tuition for the series is SIO; single tickets to lectures are$2.00.The concerts on February I, March 7 and May 10 will be given in Mandel Hall; adm: $2.00, $2.50, $5.00 (50*discount to VC faculty and students.Tickets at Concert Office, 5835 University A ve; oral Downtown College, 65 E. So. Water St.Tuesday, April IMl SIC OK TDK W KSI Improvisation in the KenaissanceHoward M. Brown with The Collegium MusicumTuesday, April 15Ml SIC OK INDONESIA Mantle HoodTuesday, May 6Ml SICOK AKKICA J. H. Kwabena \ketiaSaturday, May 10CONCERTOKCAMELAN Ml SICThe University of Michigan Gamelan OrchestraTuesday, May 20THE KESTIN Al. Ml SIC OK JAPAN / William P MalmDates and programs are subject to changew in” sanity south1463 E. Hyde Pork Blvd.Come see us from "in” sanity ••••••Noon to 10 p.m. too* m. e«uiin« pi»t » sue; EXPERIMENTAL DANCE WORKSHOPwith Maggie Xast, meetsMonday, 1:30 Ida NoyesTheatre. Regular classes beginnext week. "3RD MONTH!"“A MASTERPIECE.ONE OF THE ALL-TIME GREATS.”— Archer Wmsfen, NY Pojf“A TRIUMPH AND A THRILLER.Erotic scenes of such outright beauty, such super,subtlety. A great film that boasts thrills, chills,beautiful women. An outstanding film for our time!’- Jud,th Cud. wjrEST FINIEALAIN RESNAISYVES MONTAND INGRID THULIN • GENEVIEVE BUJOLDProduced by SOF RAC IM A PARIS EUROPA HIM STOCKHOLM A BRANOON FILMS RELEASE2424 N. Lincolnat Fullerton-Halstedone block east ofFullerton "El“ stopTel.: 528-9126LIBRARY HELP WANTEDBoth full-time and part-time positions availablefor students and student wives.Telephone 955-4545THE CENTER FOR RESEARCH LIBRARIES5721 Cottage Grove Avenue UJSdm 97.9 fmsmack dab in the middle of your fm dial PENNY KREE PARKINGCINEMA STUDENT RATE!Show Times:5:40, 7:50,10P.M. Daily2438-40 N. HalitedopWUxie’s Slower Sk“FLOWERS FOR ALL OCCASIONS1308 FAST 53rd STREET TAKCAM-YMtCHINESE-AMERICANRESTAURANTSpecializing inCANTONESE ANDAMERICAN DISHESOPEN DAILYpCtfTNM.I I A.M. TO 9 P.M.SUNDAYS AND HOLIDAYS12 TO 9 P.M.Orders to take out^3jj^as^3rc^1U4H^ FINANCIAL AIDUndergraduate studentswho wish to apply for fi¬nancial aid for the 1969-70academic year must submitapplication, including Par¬ents Confidential Form, byJanuary 25. Forms may bepicked up now at Office ofAdmissions and Aid, 5737University. Ext. 4592 Dependable Serviceon your Foreign CarVW’s encouraged now. 2 Factory trained mechanicshave joined us. Quicker service. Open til 8 P.M.Grease St ni’ change done evenings by appt.Hyde Park Auto Service • 7646 S. Stony Island • 734-6393Jimmy’sand the University RoomRESERVED EXCLUSIVELY FORUNIVERSITY CLIENTELEFIFTH-FIFTH & WOODLAWN6 The Grey City Journal January 10, 1909'A* Wi l **■Antigone Analyzed for Dramatic MeritsBy Tom BuschIF THE FIRST performance of the Living Theatre exhib¬ited a workshop quality, this may reflect the tentative¬ness and incoherence of a positive radical statementfrom any quarter at this time. Mysteries and Smallerpieces attempts a series of brief and largely non-verbalepiphanies. They are marred by fragmentation andthrown off the quick timing the material demands by theneed to communicate new experiences in a setting calci¬fied by conventional cultural responses and inhibitions.Indeed the publicized “audience involvement” consistedof two pieces. A parodic mass slogan-chanting imitatedthe catharsis of demonstrations. Mimetic deaths both onstage and in the auditorium failed, if their intention wasto accuse us for our stolid failure to help the suffering,precisely because we were all too aware of a company ofactors pretending to die. The theater does not work be¬cause we blieve what happens is real; to fall back onColeridge, our suspension of disbelief allows the playersto effect their magic.Although several were amusing, only one scene in theevening emerged as a genuinely moving theatrical ex¬perience. (Another, the second episode after the inter¬mission, in which the players exchanged positions in acircle while performing various vocal and physical signa¬tures, suggested a radical sense of non-verbal comu-nication. perhaps the only one available to the Movementperson who believes that his meaning is distorted by alanguage not his own. After this, the ending, in whichone player exhorted the audience to unscrew their seatsand place them in the files of the university “becauseyour technology is killing our children,” disappointed inits formulaic triteness.)The opening scene however succeeded brilliantly. Afternearly a half hour delay calculated to antagonize theaudience, a single man stood, alone, still and silent,down stage center for about ten minutes. After a minuteor two. in which we assumed he was waiting for oursilence, we became restive. Random laughs and coughssprang up, followed by a growing number of hecklings.After five minutes or so, the strange sensation mani¬fested itself of wondering if everyone else in the theatre,and indeed in one’s life, might not be a “plant”. When atthe end of ten long, hostile minutes, members of thecompany began stomping down the aisles we were im¬mensely grateful. There followed a ballet based on,Ken-neth Brown’s The Brig. The company marched, mimedwork — washing, sweeping, hauling — and chanted poly-phonal phrases from a dollar bill. As the chant built tointensity, the dancers swelled a drill team exercising onthe stage, behind and around the still stationary loneman. At the peak another player entered and barkednonsensical commands; the entire company, save theoriginal player, crisply replied, “Yes sir.” We had beenmade uneasy and hostile by the inviolability of an indi¬vidual. We were then forced to see him as a hero.Antigone, which the press release described as “JudithMalinaz’s translation of Brecht’s version of an adapt¬ation of the Sophocles play,” demonstrated triumphantlythe troupe’s ability in a sustained structure, their versa¬tility. their discipline. The play bears but a skeletal re¬semblance to Sophocles’. Indeed in tone it is more Ro¬man than Greek, as life under an empire differs vastlyfrom that in a polis. While the portrayal of Creon as atotally despicable tyrant of corporate liberalism drainsthe play of tragic impact, it gains an almost melodra¬matic energy from the moral fervor of the isolated andfinalyl vindicated Antigone. Ours is not an age nor anempire which admits of sophisticated tragedy. Corporateliberalism deserves to be represented by no better than abuffoon and a charlatan.Julian Beck is brillian as Creon. Instead of sustaininga complex psychological realism, Beck changed his tonefrom moment to moment to reflect the many publicfaces of a soulless man. He chanted, pep talked, threat¬ened, whined, hustled and pattered. He pranced, con¬torted and grimaced, casually castrating the Elders ofThebes as he recounted his victory battle. One minute hepeddled snake oil, the next he cajoled Antigone as arecalcitrant relative, then he was off addressing theboard of directors. With each change the dramatic ex¬citement shifted, now broad parody, now frightening vio¬lence, now villanous intensity, now off-hand irony that bityou behind your backAs the play gained momentum, Mr. Beck’s virtuousityand the energy of the chorus tended to overshadow Jud¬ith Malina’s Antigone. She too made her character liveby chameleon transformations, part Bronx housewife,part Mae West, part lonely, but largely committed. Be¬cause she reminds more or less in a single, defiant pos¬ture, and because the drama develops between Creonand the chorus, the natural direction of the play tends tomake her recede. The power of the whole play howeverdepended on her able inauguration of the action, sup¬ported by disciplined diction and magnificent physicalcontrol.The energy of the production and ultimately its theatri¬ cal impact came from the superb direction of the chorus.Here we saw the contained turbulence, the impression ofchaos created by strict control, the masterly use ofsound and movement which communicated the ex¬perience of the play. The troupe combined mime, danceand statuesque groupings with vocal music, both harmo¬nic and the natural assonances and dissonances of thehuman voice. The chorus which began “Mankind is amonster” moved the players down the aisles into theauditorium on an antiphonal chant which was hauntingand effective. The prolonged Bacchic dance provided thebackground for the deaths of Antigone and Haemon;while its sensuous movements became more and morehorrifying, because repetition increased their mindlessmechanical quality, Teiresias prophesied Creon’s fall.Creon halts their now grotesque mime only as he con¬fronts his doom. He never understands or accepts hisown evil. Only in his capacity as a player does he regis¬ter any comprehension, when, at the end, the entiretroupe moves down stage, sees the audience and retreatsupstage in horror, until they are literally “up against”the back wall of the stage.Brecht’s adaptation of the play embedded the action innarrative delivered by the players out of character. Thisdevice illustrates Brecht’s own theory of acting, in whichthe actor does not “enter” the character but rather stud¬ies him and presents his actions much as one mightillustrate the behavior of participants in any narrative.As Antigone demonstrated, this method insists to the au¬dience that it is observing a play; it demands that werespond to the action with critical intelligence. In theLiving Theatre production, however, this repeatedchange of distance is combined with the overwhelmingenergy of the choric interludes to produce multiple per¬spectives. At any one moment the eye is jerked fromchorus to protagonists to hellish knots of bodies; fromscene to scene the mind is rushed from intense absorp¬tion to ironic distance. We are and are not involved. Ifthe myth presents a central truth about human ex¬perience, it also demonstrates to us what a great extentour responses to experience are conditioned by just suchcultural patterns. When the guard tells Creon that Poly-neice’s body is covered, “Not a real grave, just somesoft dust as though breaking the law didn’t take much,”we realize the alterability of circumstances; when Anti¬gone replies that she broke the law, “Because it’s humanlaw, and that’s why a human being must break it,” werealize that we are being challenged.As theater, the play succeeds because it recognizesand uses the seepa ration of audience and players toachieve a specifically theatrical experience. Only the ac¬knowledgment of this distance can make opposition onthe stage metaphorical; the players’ recognition of them¬selves as actors animates a theatrical experience be¬cause it enables us to sense in the action the dramaticdivorce of the will and the world, the will and the role.Antigone succeeds also where Mysteries and SmallPieces fails because the troupe, the Movement, can actto oppose the system, but just now they cannot act as ifthe system did not exist.January 10, 1969 The Grey City Journal 7Industrialization of 19th Century LiteratureNew Grub Street, George Gissing, edi¬ted with an introduction by BernardBergonzi. Penguin Books, 556 pp., $1.25.by LINDA KAYAccording to Dr. Johnson, on GrubStreet lived London's hackwriters, “writ¬ers of small histories, dictionaries, andtemporary poems” (‘Dictionary’) InPope's Dunciad Grub Street becomes syn¬onymous with poverty and starvation, asits name so well suggests. Then, in thenineteenth century, Grub Street was, withtypical zeal, renamed Milton Street.Nevertheless its mythic value remained,tobe reinvigorated by George Gissing’s no¬vel of 1891, New Grub Street.The plot of New Grub Street depends up¬on the contrasting careers of two liter¬ary men in a London where literature hasbecome a commodity. Jasper Milvain isone of the new, dashing-about young menof the literary world. His self-professedgoal fs Wealth and Reputation, not Art.And he will achieve them by ingratiat¬ing himself with the proper, helpful peopleand by writing anything that will sell tothe vulgar mob. He is agressive, ruthless,energetic, and imaginative as Madisonavenue is imaginative, but his purityof self-interest cannot be sullied with vil¬lainy, for he maintains a scrupulous hon¬esty. Unlike some, he is saved in our eyesby his refusal of hypocrisy about eitherhis goals or his methods: everyappearance, acquaintance, action is openlycalculated towards his advancement. Heremains a type of innocent. And he doessucceed: he wins a wealthy wife, repu¬tation, an important editorship, in all. “adreamy bliss.”Edwin Reardon provides the counter¬point. Reardon, though not a novelist bychoice (which somewhat undercuts thecontrast), has. nevertheless, written tworather better than average novels and re¬ceived for them a modicum of notice andpay. His ambition equals Milvain’s, but heis an “impractical idealist” who cannotbring himself to barter his art in the mar¬ ketplace. He marries a poor but educatedmiddle-class girl on the promise of his fu¬ture and then, unable to continue to pro¬duce at the necessary rate, dragsher down to prospects of poverty. The re¬sult? He loses self-respect, wife, art. andlife. The overt moral, pointed to on almostevery page, seems to be ‘avoid poverty,avoid poverty, avoid it at all costs.’ Pov¬erty degrades; it ruins tempers, stomachsand homes.Yet, despite an inauspicious plot and acrassly Victorian situation, the book doesinterest, if, that is, the reader persists atleast a hundred pages into the story. Themoral is not cut and dried, for none of themajor characters is completely admirable.The author succeeds in building aquite substantial ironic tension amongthem, until, at the end of thebook, the chapter heads reflect the ex¬tremely heavy irony in every scene.“Chapter 32, Reardon Becomes Practical”— by dying!Although Reardon is supposed to repre¬sent the “impractical idealist” who willnot prostitute his Art to the vulgar mob,he holds nevertheless the same social val¬ ues as his counterpart, Milvain. Povertydestroys and should be shunned; appear¬ances do matter; opinion and reputationamong the respectable do matter; there issomething queer about the Bohemian life;a successful artist announces himselfto society with the same material displayas a banker; clean sheets and well-soledshoes make a man a Man. Gissing neverlevels a really scathing attack at this sys¬tem, although he does mightily despairover its unfairness to the artist. If thenovel is meant to be primarily social crit¬icism, it must be found vapid indeed, forGissing offers no alternatives to thesystem that seems so unfair. But is itreally unfair? Does it not seem somehowjust, in the context of this book, that Mil¬vain triumphs and Reardon perishes? Inspite of the ironies, I cannot helpbut think that Gissing does approve thesystem. His railing resembles the railingof Job: Job blames God and His seeminginjustice, but he would not deny Him orchange Him. Nor does Gissing allow anover-simple moralization like “good ar¬tists fail, bad artists succeed,” for Rear¬don’s “goodness” remains, in my eyes at least, somewhat questionable: his secretdesire was always classical scholarshinnot novel writing, though he did moderately well at that; he‘d rather appreci¬ate art than produce it.Rather, the novel tends to suggest thatthere is something slightly fishv aboutthe pursuit of literature as career.' It is asthough Gissing himself secretly believedthat writing was a fancy kind of sloth andthat it was a l ttle sinful to earn one'sliving at something that could also be de¬scribed as play. The book, then, is anapology for the job of literature. Thewhole novel suffers a guilt complexIn order for literature to be accepted asWork, it must be made extremely difficultand painful: Reardon martyrs himself forit, he suffers in order to prove he is notloafing and he starves in order to provehow hard he works. Milvain approachesfrom the opposite direction. He makes lit¬erature into work by treating it like anyother work: he values it for what it maybring him in money or reputation, he findsno satisfaction in it for itself as art. Ex¬cept for two minor characters, no literaryman in the book really enjoys himself,and that strikes me as odd. All areslaves to either the vanity of literaryquarrels (which prove the seriousness ofthe project) or to the poverty and suffer¬ing wrought by a lack of worldly recogni¬tion.Supposedly, the novel is partially auto¬biographical. Gissing himself showed adistinct tendency towards a morbidity sim¬ilar to Reardon’s. Twice, because of hispoverty he explained, he martyred him¬self in unhappy marriages to uneducatedworking class girls. He refused any jobthat would allow him leisure in which towrite, but set himself staunchly to pro¬duce a novel a year in order to supporthis family. Gissing practiced the samemechanical mode of composition thatReardon bewails as necessary in the book:New Grub Street, it is said, was writtenat a rate of about 4000 words a day. thetask being finished in two months. At itscompletion, Gissing was somewhat sur¬prised to have done so well.Miss Kaye is a student at Antioch College.Your MameleShould KnowThe Joys Of Yiddish, Leo Rosten, Mc¬Graw-Hill, 533 pp„ $10.00.by STUART SOSTRINOn a bus in Tel-Aviv. a motherwas talking animatedly, in Yiddish,to her little boy — who kept an¬swering her in Hebrew. And eachtime the mother said, “No, no, talkYiddish.”An impatient Israeli overhearingthis, exclaimed. “Lady why do youinsist the boy talk Yiddish insteadof Hebrew?”Replied the mother, “I don’twant him to forget he’s aJew.” — from The Joys of Yid¬dish.First, let me explain that I aman Orthodox Jew. I put in a yearat the Yeshiva. I keep a kosherhome. I have been a baal shofar(one who blows the ram’s horn onRosh Hashanah) since the age offourteen. I have been to Chassidicweddings and have drunk wineblest by the Samter Rebbe. But Idon’t speak Yiddish.The book is written by Leo Ros¬ten who wrote most of the HymanKaplan stories while a doctoralcandidate in the late thirties, buthasn’t turned out anything as goodsince. The book itself is exactlywhat you would expect it to be.Very good-natured, guaranteed notto offend anyone, suitable forgift-giving during National Broth¬erhood Week, Christmas, or even Chanukah if you have an ethnichang-up. Though not exactly anOxford Yiddish Dictionary, it is alegitimate lexicon of Yiddishwords, phrases, and expressionsthat have become part of Ameri¬can usage, or ought to.Joys is extremely well-written;Rosten's credentials for ethnic hu¬mor have been established formore than thirty years. The authorcarefully explains each word, givesa little etymology, and illustrateseach with a story, ranging fromTalmudic parables to raunchy one-liners. Example:Yussele, Do you say yourprayers before each meal?No, Rabbi.What, you don’t pray be¬fore each meal?!I don’t have to. My wife’s agood cook.One more,“Tailor, it has already taken yousix weeks to make my trousers andstill they aren’t done. Why, it onlytook God six days to create the en¬tire world!!!”“Nu,” said the tailor, “Look atthe world, and look at thesepants.”The Joys of Yiddish has a myriad oflittle uses, and probably should be kept onthe bookshelf between Webster’s Third andthe Dictionary of American Slang. If youreally want to, you can now translate Bud¬dy Hackett and Sammy Davis into English,or better yet, Lenny Bruce into Anglo-Sax¬ on. If you are Gentile, Joys can increaseyour vocabulary tremendously. One goodYiddishism like nudzh or paskudnyak isvastly more useful than anything out ofThirty Days to a More Powerful Vocabu¬lary. If you are an assimiliated Jew, youcan pick up bits and pieces of a beautifuland ancient tradition that is dying, a legacythat will not be claimed because no one, itseems, knows it exists.Yiddish is going the way of the dodobird, the nickel beer, and Old Frisian. It’sdying off with the handful’of Medicare rel¬ics who still speak it. In America, the vastmajority of Jews speak English only.Those who do speak Yiddish tend to use itsparingly, and few pass it on to their chil¬dren. In Israel, Yiddish is discouraged. Itis generally considered a declasse lan¬guage, spoken only by the weak and theold, by those who passively marched intoHitler’s crematoria. In Russia, Yiddish isstill supposedly the official language ofBiro-bidjan in Eastern Siberia on the Man¬churian border, Stalin's idea of a NationalJewish State. Its population is extremelysmall and only about a third of it is Jewishanyway. Since the Six-day War. there hasbeen a general crackdown on Jewish in¬stitutions behind the Iron Curtain. Most ofthe remaining Yiddish publications havebeen suspended. There is little hope for aYiddish revival in Eastern Europe. Therearen’t enough Jews any place else in theworld to really matter.Few have the slightest knowledge of theglory of Yiddish literature. Some mayhave read a little Sholem Aleichem or Is-sac Bashevis Singer in English, but howmany remember I. L. Peretz, MendeleMocher Soforim, or Sholem Asch? Doesanyone remember the old Yiddish stage?Has anyone seen The Dybbuk or God ofVengeance done in the original, or a Sho¬lem Secunda musical comedy? Does any¬one remember the old cantors like Rosen¬blatt who turned down a contract with theMet because he refused to cut his beard or work on Shabbos? What about Kwartin orHershman? Anybody out there capable ofreading the Forward or the Frieheit? Any¬one remember the old Roumainishe schulin Chicago before it became a MountainBaptist tabernacle? Does anyone remem¬ber when Saturday was the Sabbath, aHoly celebration of life, not a day at thetrack or on the golf course? Rememberwhen being a Jew meant binding yourseltto an ancient ritual, an ancient people andan eternal God? Remember when therewas a broche (blessing) for every actionand every action was a potential blessing.Not many realize it, but the final solutionhas taken place. Hitler was successful. Theold European Jews are gone. Spiritually,the Jews of the last two generations arenot the same as the generation before.While the old Jews placed primary valueson scholarship and piety, the AmericanJew, like most Americans, places a prima¬ry value on money. Modern Jewry seemsto glory more in the ability to kill Arabsthan in the ability to comprehend a diffi¬cult passage in scripture. The Jewish na¬tion has become like all the other nations:more concerned with the material than thespiritual.This sermonizing doesn’t really lead asfar away from Rosten’s book as it seemsIt is a fine book, but I am very sad that ithad to be written. In the best of all Pos’sible worlds, the book might be used as alamp unto the Gentiles, but it appears thatThe Joys of Yiddish will be more at homeunder the Channukah bush that the Xmastree. Rosten’s book performs a great ser¬vice to Jews and Gentiles alike, by keepingalive the glories that were Yiddish. Afterall, if there is a Yiddish theater in Albu¬querque, New Mexico that makes a pr(,f,l(and there is), things can’t yet be all thatbad.Mr. Sostrin is a third year medical siudenat the University of Illinois. His articleshave appeared in the Daily Ulini andChicago Seed.12 The Chicago Literary Review December, 1968The Chicago Maroon Chicago, Illinois, Friday, January 10, 1969 Vol. 77, Number 27M. 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The man who has X num¬ber of dollars to spend and is deter¬mined to get his money’s worth andmaybe more.Come to a Chevrolet Showroomduring our Value Showdown.Ask the man to show you, onpaper, how you can order most any 1969 Chevrolet with a big V8 andautomatic transmission for less thanyou could last year.Come in and spend some time.Dig, probe, ask questions, take notes.You owe it to yourself to be thorough.Go for a drive.Get a free sample of Chevrolet’sluxurious full-coil, cushioned ride.Shut the windows and see how freshthe interior stays, thanks to Astro Ventilation. Feel the kick of the big¬gest standard V8 in our field.Then go down the street or acrosstown and see how we stack up againstThose Other Cars.We think you’ll wind up with aChevy.More people do, you know.Putting you first, keeps us first. Rossigno5210 So. Harper Phone 955-5110(in Harper Court)FUN WORKING IN EUROPEX-402-speaker2-wayloudspeaker system$57.00JensenSpeakerSpeciala'2 .The Chicago1 .‘MaraoM January, 10,.. 1969I r - ™~"" '^ f • *‘" ' mj»• I I n f • «~Chicago, Michael Reese Join ForcesThe division of biological sciences andthe Pritzker School of Medicine will affil¬iate with the Michael Reese HospitalMedical Center under a plan approvedThursday.Negotiated over the passed nine monthsby representatives of both institutions, theplan provides for co-operation in patientcare, medical education, and research, butdoes not call for merger.University President Edward H. Levidescribed the affiliation as “a most signifi¬cant development.”BILLINGS HOSPITAL: Soon to join forces with Michael Reese Hospital in affiliation.Campaign for Chicago SucceedsA record $160,500,000 in gifts and pledgeswas raised in the three-year Campaign forChicago, initial phase of UC’s ten-year pro¬gram of financial improvement, the Uni¬versity announced Thursday.Despite some early skepticism of suc¬cess, the campaign total, as of Dec. 31,1968, was a half-million dollars over the$160 million goal set when the campaignbegan late in 1965.This is the largest amount ever raised inone drive by a private university in such aperiodThe campaign was the first step of a ten-year plan to secure a minimum of $360million in gifts. This figure represents theestimated difference between the Univer¬sity’s projected total income and outgo, in¬cluding capital expenditures, during the1965-75 period.Gaylord Donnelley, University trusteeand chairman of the campaign, said thatmore than 3,500 alumni worked as cam¬paign volunteers. “Alumni contributedmore than $32 million,” he said. “The fac¬ulty, on its own initiative, undertook acampaign and contributed more than $1million. This was a remarkable achieve¬ment.”Charles Daly, vice-president for devel¬opment and public affairs, said one of thekey factors in the University’s success wasthe five-year challenge grant of $25 millionreceived from the Ford Foundation whenthe campaign opened. The grant providesthat the University will receive one dollarfor every three dollars given by privatedonors.Daly said, “The University still has ap¬proximately $4,300,000 of the Ford grant toearn before the June 30, 1970 deadline.”Among the many things accomplishedduring the campaign, the University notedthat:• The faculty increased from 940 to 1,-098, with a corresponding increase in thegeneral overall quality.• Annual student aid was increasedfrom $6,705,800 to $10,361,526.• The reorganization of the College wascompleted.• Library collections were enlarged sig¬nificantly.• Foreign area studies were expanded.• Urban studies were accelerated and anumber of important programs began, in¬cluding a mental health clinic and a pe¬diatric clinic, and a scholarship programfor students from disadvantaged areas. • Interdisciplinary study advancedthrough the merger of several departmentsand the creation of new committees andcenters.Among the specific facilities that re¬sulted from the Campaign were:• The Joseph Regenstein Library, agraduate research library that, when com¬pleted in 1971, will house 3,000,000 booksand periodicals and provide study spacesfor 2,200 students and 250 faculty mem¬bers;• The new Stagg Field at East 55thStreet and South Cottage Grove Avenue,recently completed;• The Henry Hinds Laboratory forGeophysical Sciences, to be completed inthe spring; • The High Energy Physics Building,completed;• Cobb Lecture Hall, the University’soldest building and the center of the Uni¬versity’s undergraduate program, a struc¬ture now completely rebuilt;• S e a r 1 e Chemistry Building, com¬pleted;• The International Studies Building, forwhich ground soon will be broken;• The Cochrane-Woods Art Center andthe David and Alfred Smart Gallery, to bebuilt as part of the proposed Center for theArts, planned for construction at the south¬east corner of East 56th Street and SouthGreenwood Avenue, andContinued on Page Five Dr Leon O. Jacobson, dean of the divi¬sion of the biological sciences and thePritzker School of Medicine, said, “The af¬filiation anticipates the medical andpatient care problems of the future. Itgreatly increases the clinical facilitiesavailable for medical student training andwill permit us ultimately to increase ourmedical student enrollment.”Harold H. Hines, Jr., president of theboard of trustees of Michael Reese Hospi¬tal and Medical Center, commented: “Weare pleased to be related to one of the na¬tion’s finest medical schools. We believethe scientific and educational interchangewill strengthen both institutions.”Before being considered and approved bythe Board of Trustees of the University,the joint affiliation proposal was recom¬mended by the division of biological scien¬ces and approved by the Academic Councilof the University. The plan was announcedMonday morning at a press conference atthe Sheraton-Chicago hotel.Apparently the chief benefit of the affilia¬tion will be in the co-operation in the useof the large patient capacity of MichaelReese Hospital, for patient care.Michael Reese has more than 1000 beds,and a staff of 550 physicians and 3000 otheremployees. The Hospital’s nationally rec¬ognized post-graduate training program in¬volves 250 interns and residents.The University of Chicago Hospitals andClinics is a 722-bed institution with a full¬time professional medical staff of 321,most of whom are physicians who alsoserve as the Pritzker faculty. The hospitalsystem also has 400 other professional staffmembers, 1600 hospital staff members, and1200 research workers.Current mechanisms of appointment tostaff of both institutions remain un¬changed.Students Demonstrate for Mrs DixonA meeting of about 75 college and gradu¬ate students concerned about the failureof the University to rehire Marlene Dixon,Thursday night moved for student actionon four lines — picketing today, circulatingpetitions, demanding an open meeting oftenured sociology professors to explainMrs. Dixon’s dismissal, and holding amass meeting Friday, January 17.The students succeeded in settling earlyideological differences between human de¬velopment students and more radical col¬lege students and passed the final programby acclamation. Both sides agreed that themost effective way to help Mrs. Dixon andfuture radical professors was to bring stu¬dent pressures to bear on the present hir¬ing system.Human development students are circu¬lating a separate petition among them¬selves. The faculty of the human devel-o p m e n t department, which original¬ly brought Mrs. Dixon to the University andhandles her salary, voted unanimously ear¬lier to rehire her.The following is a letter sent by the “Com¬mittee of 75” to the Maroon.In the mind of too many members of theUniversity of Chicago academic commu¬nity, a distasteful and unclear decision hasbeen reached with respect to the reappoint¬ment of Mrs. Marlene Dixon, one of thisUniversity’s outstanding professors. Thefact that the faculty of the committee on human development, which has hired andfinanced her stay thus far, has publicly de¬clared their unanimity in approving herreappointment only increases the cloudi¬ness of the decision-making procedure em¬ployed.There are several reasons for her popu¬larity. Her lectures are thoughtful and pro¬vocative. She focuses her efforts on studentneeds and interests and takes teaching se¬riously as her primary vocation.We are unclear about the reasons for thedenial of the reappointment for two rea¬sons: we were not consulted about the de¬cision and channels of communication todiscuss such issues do not exist at present.We can only surmise that Mrs. Dixon’scontract was not renewed for the followingreasons:• It was politically motivated.• The type of sociology Mrs. Dixonteaches is at variance with the main¬stream of sociology taught at this Univer¬sity.• Publication was considered a moreimportant criterion than teaching in eval¬uating her academic performance.• There is discrimination against wom¬en in the hiring of University faculty.We demand that:• The criteria for this decision be madepublic and explicit.• Mrs. Dixon be rehired.• That students become coequal part¬ners with the faculty in all future decisions on the hiring and firing of faculty.Why is it that the sociology departmentwhich does not pay her salary had a say inMrs. Dixon’s dismissal while students whowork with her have no say at all?The following actions have been planned:• There will be a demonstration and apicket line today at 11 am to protest Mrs.Dixon’s dismissal.• A petition is being circulated in sup¬port of Mrs. Dixon’s return.Further we demand that the social sci¬ence division respond by Monday, givingthe time and place of an open meeting tobe held by Wednesday, Jan. 15, explainingthe reasons for their action. If this demandis not met, the classes of all tenured mem¬bers of the sociology department will bedisrupted in order for us to discuss Mrs.Dixon’s case.The Committee of 75MurphiesThe deadline for Murphy Scholar¬ship applications will be Jan. 17.Applications are available in theCollege aid office, 5737 South Uni¬versity. Murphy Scholarships arethe ones awarded to students whoengage in highly time-consumingactivities and are based on financialneed, academic standing and thenature and extent of the studentsactivity.(’Jahuarf \t;»«* rf*lHARPER COURT5220 So. Harper1 /2 priceWideSelection fashions forYoung Modernsin Harper CourtJapanKARATEAssociationThe U. C. Karate Club is offering a new beginners' class on Mon.and Wed. at 7:30 P.M. starting Monday, Jan. 13.Intermediate and advanced: Mon. and Wed. at 6:15 P.M.$10 to ioin, $10 per quarter. Females half price.Information: 684-3908 or 363-4298, evenings. A message for MBA’s and otherGraduate Business students fromthe multi-facetedSTANDARD OIL COMPANY (N.J.) AWHERE YOUCAN HELPTO SHAPE ABETTER WORLDg Jersey Standard has contributed to the | The contribution of Standard Oil Corn-development of many nations by providing pany (N.J.) & its affiliates thus extendscapital and adapting modern business far beyond the basic economic function oftechniques and organization to a great supplying energy from petroleum and othervariety of cultures.H The Company's affiliates around theworld have also assisted in the establishment of training centers, medical clinicsand hospitals, in the provision of adequatehousing and the building of roads. Theyhave supported local cultural efforts. Theyare active in the field of public health. Inharmony with the broad Jersey concept ofcorporate citizenship, affiliates are pur¬suing a wide variety of programs in supportof education. The Esso Education Foundation has made grants of more than $24million to institutions of higher learning inthe United States. products essential to modern civilization.■ Jersey seeks to exemplify both at homeand abroad the creative social awarenessexpected of a modern corporation in ful¬filling its multiple responsibilities to shareholders, customers, employees, govern¬ment and the general public.| Isn’t something like this really whatyou've been preparing for?B Make it a point to see the Jersey Stan¬dard representatives when they visit yourcampus—and talk over the various manage¬ment opportunities in our world wide familyof companies.| Jersey representatives will be here onJanuary 15, 16STANDARD OIL COMPANY (N.J.)and affiliates Humble Oil £ Refining Company. En;ay Chemical Company Esso International Inc ,Esso Mathematics A Systems Inc.. Esso Research and Engineering Company Esso Standard Eastern, Ire.An Equal Opportunity EmployerAMERICAN RADIO ANDTELEVISION LABORATORY1300 E. 53rd Ml 3-9111- TE'LEFUNKEN & ZENITH -- NEW & USED -Sales and Service on all hi-fi equipment and T.V.'s.FREE TECHNICAL ADVICETape Recorders — Phonos — AmplifiersNeedles and Cartridges - Tubes - Batteries10% discount to students with ID cards UNIVERSITYBARBERSHOP1453 E. 57th ST.FIVE BARBERSWORKING STEADYFLOYD C. ARNOLDproprietorJESSELSON’SSERVING HYDE PARK FOR OVER 30 YEARSWITH THE VERY BEST AND FRESHESTFISH AND SEAFOODPL 2-2870, PL 2-8190. DO 3-9186 1340 E. 53rdThe Chicago Maroon PizzaHY 3-I2S2Italian & AmericanDishes SandwichesDelivery ServiceOPEN 7 DAYSCarry-Outs1459 E. Hyde Park Blvd 3"IVSUntil January 31, 1969All: Wool, Corduory, velvet,velveteen, crepeuar Mon., Tues., Wed., Sat. 10-6Thurs., Fri. 10-9Sun. 1-55225 South Harper 363-2349January 10, 19i69 CAN’T AFFORD NEW FURNITURE ?TRY THECATHOLIC SALVA6E IUREAUTRUCKLOADS ARRIVING DAILY3514 S. MICHIGAN 10 E. 41st STREETlit . n i * CDiverse Sources Support 'CampaignContinued From Page Three• The Corinne Frada Pick Theatre,which will be part of the Center for theArts.In addition, the Silvain and Arma WylerChildren’s Hospital was completed duringthe Campaign.A number of specific campaign goals re¬main to be met, including funds for thefollowing:• A biological sciences research build¬ing to provide research facilities for thedepartments of biochemistry, biophysicsThe big drug dealers in Hyde Park havea lot to be concerned about lately. Sinceearly December, narcotics detectives oper¬ating out of police headquarters at 11thand State have been phenomenally suc¬cessful in their continuing efforts to catchdealers, apparently assisted by informationboth confiscated and solicited from busteddealers.The Chicago Tribune on Dec 24 reportedthat Peter Bradshaw, a self-employed pho¬tographer, was arrested in his apartmentat 5417 Woodlawn, and that detectivesarmed with a search warrant signed byJudge Kenneth Wendt of narcotics courtfound 875 LSD tablets, $1,000 worth ofmarijuana, and a notebook containing thenames of University of Chicago students.Although the police seem to have an ac¬curate source of information, it has beenspeculated that their primary informationsource came from Old Town somewhat pri¬or to the Bradshaw bust, as some of the vide research and teaching facilities forthe division of the physical sciences.• A music building, part of the Univer¬sity’s new Center for the Arts.• Student housing.When questioned by Maroon reporterDaly said, “At the moment we are not try¬ing to raise money for the student villagebecause there does not seem to be suf¬ficient interest in it. Unless a substantialpart of the University community is en¬thused about a project of this size, andfully convinced of its value, we are notgoing to be able to develop much intereston the part of donors.”detectives in on the bust were men whonormally work in Old Town.Police sources have refused to discusstheir sources or objectives in the crack¬down, even with University security offi¬cials, in relation to an error committedDec 19 when the apartment of Janet Kra-vetz was raided. Kravetz, an adminis¬trative assistant to professor James Red-field, was indignant over the intrusion, butthe police remained adamantly silent.The most recent raids have occurredduring the past week, and rumors persistthat many arrest and search warrants arebeing obtained from narcotics court judgesin case they are needed for a quick sweep.Police are currently calling people over totheir squad cars and openly tailing peoplein order to find intersections, possibly toget evidence of conspiracy. The heat isstill on. and may remain on for some timeto come. Major gifts to the Campaign for Chicagoincluded:• $25 million grant from the Ford Foun¬dation, which the University must earn byJuly, 1970, by receiving three gift dollarsthat qualify for matching for every dollarfrom the Foundation;• More than $16,500,000 in gifts fromtrustees of the University;• $12 million from the Pritzker familyof Chicago for unrestricted use in the Uni¬versity’s medical school, which has beenrenamed The Pritzker School of Medicinein the family’s honor;• $10 million from the Joseph and HelenRegenstein Foundation for the constructionof the Joseph Regenstein Library;• $3 million from the government ofIran for the construction of the PahlaviCenter for Middle Eastern Studies and fortwo professorships in Persian civilization;• $2 million from Dr. Clarence C. Reedfor the construction of the Surgery Build¬ing;• $1,500,000 from Albert Pick, Jr., forthe construction of the Corinne Frada PickTheatre in the University’s Center for theArts;• $1 million from the Woods CharitableFund, Inc., for the construction of theCochrane-Woods Art Center in the Centerfor the Arts;• $1 million from the Smart FamilyFoundation for the construction of the Da¬vid and Alfred Smart Gallery in the Centerfor the Arts;• $1 million from the Standard Oil (In¬diana) Foundation for unrestricted use;• $900,000 from the Brain ResearchFoundation, including $500,000 from Mr.and Mrs. William E. Fay, Jr., to establisha Brain Research Institute on the Midwaycampus; CHARLES DALYChief Money Raiser• $600,000 from the Avalon Foundationto establish a chair in the humanities;• $600,000 from an anonymous donor toestablish the John A. Wilson Professorshipof Oriental Studies in the University's Ori¬ental Institute;• $500,000 from the Foundation forEmotionally Disturbed Children to estab¬lish an endowed professorship to be heldby future directors of the Sonia ShankmanOrthogenic School;• $500,000 from the Alfred P. SloanFoundation for research grants in the sc>ences;• $500,000 from the IBM Corporation forunrestricted use;• $500,000 from the Inland Steel-RyersonFoundation, of which $300,000 is for unre¬stricted use and $200,000 is for supportingcurrent projects;• $500,000 from the Howard WillettCharitable Foundation to establish an en¬dowed Professorship in the College, and• $500,000 from the Richard King MellonCharitable Trusts to expand and strength¬en medical teaching.and microbiology.• A physical sciences building to pro-Narcotics Agents PressHyde Park Drug DealersTHE STUDENTHOUSING OFFICEAnnouncesAVAILABLEHOUSINGUndergraduate Women: 1442 East59th Street, Woodward CourtGraduate Women: furnished apart¬ments at 5518 Ellis AvenueGraduate Men: furnished rooms atthe Broadview and Burton-JudsonUndergraduate Men: furnished roomsat the Broadview. t..! ■ - ■ * -Further information can be obtained in the StudentHousing Office, Administration 201. PRE-INVENTORY CLEARANCE20% -66%%OFFon everything!FANTASTIC BARGAINS!SEE IT TO BELIEVE IT!Weapons of Resistance:Ideological or Physical?EDITORIALSThe CampaignEdward Levi speaks of three major issues which presentlyconfront the University: money, faculty, and students. Obviously,all three areas are interdependent: without sufficient funds toattract top faculty and finance library facilities, the outstandingstudents which Chicago has attracted in the past will begin tochoose other universities. Chicago will continue to maintain itsseventy-six year old tradition of superior scholarship only if itcontinues to strengthen its resources.The success of the campaign for Chicago is a relieving exampleof the interest and dedication which Chicago requiries to surviveand thrive. The faculty, friends, and alumni who have recognizedthe importance of the campaign to the growth and independenceof the University and who have enabled the campaign to reach itsgoal of $160 million in three years have contributed markedlyand commendably to the future progress of our University. Ifthe longer-range ten-year program financially to improve and in¬sure the growth and strength of the University achieves success,the University will attain a strong, secure position.Many studewts in this University resent the stress and im¬portance which officials place on the success of the campaign.They cite the campaign as the prime example of the University’sinsistence on kowtowing with the establishment. Some are soinvolved with this image that they are intolerant of any supportthe University receives from business and political interests.In reality, the University of Chicago is far less concerned withplaying flunky to the establishment than are the majority of otherprivate universities in the country. Most endowments are made onthe merits of the University’s continual leadership in scholarshipand research, not in payment of services rendered by it. Campaignorganizers, faculty, and trustees should be commended for theirability to raise funds with the barest minimum of stipulationsconcerning the management of the University.The University cannot survive, let alone expand and grow,without the support of private business interests. We are luckythat we can continue to pursue our own interests and at the sametime be supported by others who receive little if any retributionfrom our endeavors. Only by continuing in this vein, will we beable to thrive.Crime IssueThe last Maroon of the autumn quarter was concerned witha problem that affects the life of everyone in the University —crime in Hyde Park. There are several types of crimes in HydePark — personal crime, corporate crime, moral crimes. The titleof this issue was “Crime in the Streets,” and that was its subject.It dealt with the particular sort of crime that affects the dailymovements of people who live in Hyde Park.This sort of crime obviously does exist, and judging from thereplies we received to our questionnaire on security, it is a matterof concern to many students. It is a matter of concern on a verypragmatic level. Devoting our attention to that pragmatic level —the facts and data of crime in Hyde Park — does not mean thatwe don’t realize that the problem is deeply rooted in much morecomplex matters of politics and sociology.It would be a gross oversimplification and distortion to saythat “crime” could be sufficiently explained by such data. It is,however, equally simplistic to say, as some critics of that issuehave said, that such a compilation is irrelevant to the subject.It is unfortunate that during the past months, the issue of“law and order” has been used by politicians as a scare tactic thatplays on people’s hidden racial prejudices. At this time, certainphrases such as “crime in the. streets” and “law and order” havebecome slogans, automatically replacing reason with unthinkingfear. Anyone who thinks, however, that the issue of law and ofcrime is also meaningless, and that anyone who addresses himselfto this issue must be a racist, has fallen victim to a rigid dogmatismas blind as that of the slogan makers themselves. By John WelchThere has been a lot of loose talk aroundthe white movement about violence, street¬fighting, and such. And I think this talkharms us, since it scares a lot of peopleunnecessarily, and because perhaps wefool ourselves into believing some of thiscareless bullshit.American society seems to have a fetishabout violence. On the one hand it is putuptight at the thought of violence within oron it, while behind the other hand it per¬petrates some of the most systematic andcynical violence ever.Very curious.But understandable is that a movementfor social change in America will begin de¬fending itself “by any means necessary.”After all, this society, represented by asnarling cop armed with club and gun andmace and tear gas, backed by M-14 andmachine gun and helicopter — this societywill attempt to crush this movement “byany means necessary.”One more note: the problem is maybebest set out in the attitude of the WalkerReport toward violence “by both sides” atthe Democratic Convention. Each policeattack on “hippies” (invariably, anyone inthe street is a “hippy”) is a strike againstthe city-police team. And each time a “hip¬py” screams obscenities (this is violence?)at attacking cops or defends himself in anyway, Walker rules a strike against the“hippy” team. And since the police cutloose with indiscriminate assaults two daysbefore the convention began, we shouldconsider anything thrown at police there¬after as defensive.People are not even supposed to offerpersonal defense against the assault of aberserk police officer. It is almost as if the official mores require a total pacifism. In¬credible!I’m afraid, however, that too many “lib¬erals” — many here at UC — have theidea that this defensive “violence” is some“new and dreadful phase” of their dear oldmovement. As if we were planning terro¬ristic campaigns from now on, with “leftiststormtroopers” destroying universities(raping coeds? burning books?), tramplingout “reasoned discourse.”But this violence that puts people uptightdoes nothing much in itself. It is usuallynothing more than “moral witness,” plainpersonal anger at a cop from someone toopissed to control himself, rather than pow¬erful collective action. A thousand peopleon Michigan Avenue, ten or twenty ofwhom are throwing occasional chunks ofrock or wood or flash bulbs from thecrowd at increasingly madder cops, whobeat people harder (how well can you imi¬tate the Paris barricades if you have al¬most nothing to throw?). Two fights in Ber-kely, one in the Haight, the Convention —we lost every time despite some individualheroics. All that fighting bringing off a fewbruised cops and dented squad cars.No, it cannot be that our “violent” ac¬tions are scaring people, since the actions,we see, have been pretty piddling. It mustbe our words that scare people.Come now ... The Movement is no moreviolent than ever except in its rhetoric.“From dissent to resistance.” We all un-Continued on Page NineThis issue of the Maroon, as perhaps youhave noticed, has a number of changes.Most obvious is the change in the ap¬pearance of the paper. Because “news” assuch is sporadic on this campus, and be¬cause we only come out twice a week, itdoesn’t make much sense to keep trying tohave banner headlines and news frontpages. So instead we will try to have goodlooking front pages and put the news onthe inside. We are also consolidating someof the less important stories in the catch allsection “About the Midway.” (At the sametime we are endeavoring to make thesestories as interesting as possible, and asTHE CHICAGO MAROONEditor: Roger BlackBusiness Manager: Jerry LevyManaging Editor: John RechtNews Editor: Caroline HeckPhotographic Editor: David TravisNews Board:Student News: Wendy GlocknerAcademics: Sue Loth ,The Movement: Paula SzewczykCommunity: Bruce NortonSports: Mitch KahnSenior Editor: Jeffrey KutaContributing Editors: John Welch, John Moscow,Robert Hardman, Barbara Hurst.News Staff: Mitch Bobkin, Marv Bittner, Deb-by Dobish, Chris Froula, Jim Haefemeyer,Con Hitchcock, C. D. Jaco, Kristi Kuchler,Chris Lyon, Sylvia Piechocka, David Steele,Leslie Strauss, Robert Swift, Leonard ZaxProduction Staff: Mitch Bobkin, David Steele,Leslie Strauss, Robert Swift.Sunshine Girl: Jeanne WiklerFounded in 1892. Pub¬lished by University ofChicago students on Tues¬days and Fridays through¬out the regular schoolyear and intermittentlythroughout the summer,except during the tenthweek of the academicquarter and during exam¬ination periods. Offices in Rooms 303, 304, and305 of Ida Noyes Hall, 1212 E. 59th St., Chi¬cago, III. 60637. Phone Midway 3-0800, Ext.3269. Distributed on campus and in the HydePark neighborhood free of charge. Subscriptionsby mail $7 per year. Non-profit postage paidat Chicago, III. Subscribers to College PressService. short as possible — so that we can havemore of them.) We think that this willhave a number of advantages, amongthem the possibility of ignoring the pagesof short stories entirely.But a more important change is takingplace in the staff. Barbara Hurst, newseditor, having had enough of the Univer¬sity and Hyde Park, is going back to New¬ton, Mass. She will be sincerely missed.In her place is Caroline Heck a second-year student from Maplewood, New Jer¬sey. Sue Loth, 72, a New Trier alumna,will move up to the news board to coveracademics. (Meanwhile, Bruce Norton, 71,joins the news board to cover “commu¬nity” news.)Some of the Maroon’s problems (de¬scribed in an editorial last quarter) havebeen alleviated — mainly because we arenow running healthily in the black. We willtry, in our relative prosperity, to pay moreattention to graduate and faculty life, tothe general events that are shaping theUniversity rather than simply the most no¬ticeable or noisy ones.The tenth week of this quarter we willhave a special issue on “The People ofHyde Park,” composed mainly of profilesof the most interesting and/or powerfulpeople in the community. Anyone who hassuggestions for the issue, please call RogerBlack.New ScholarshipDeadlineA new deadline has been set foracademic scholarships and the"Parent's Confidential Statement,Jan. 25. This change has beenmade so that announcements otscholarship awards can be madeduring the spring quarter. Applica¬tions are available in the CollegeAid Office, 5737 South University.6 The Chicago Maroon January 10, 1969LETTERS TO THE EDITORAnother LossJeanne Bamberger was a member of thefaculty of the music department and theCollege during a period of thirteen years.She worked hard as a teacher, did a lot ofshit work for her department, devoted toomuch time to her students and not enoughto faculty meetings and conventions. Inthe middle of that period she was per¬suaded to get off the “academic escalator”leading to tenure, believing that she wouldbe able to continue her work as alecturer.Six years later, without any warning, shediscovered that she was not going to berehired. The reason given was that shewasn’t an expert. That means she doesn’thave an area of specialization; she isn’t“an 18th century person” or “a Renais¬sance man.” It means that she hasn’t pub¬lished enough articles to have a name inthe field; in other words, she isn’t a sal¬able commodity, she is only a really fineteacher, and the only member of the musicdepartment to teach a genuinely ex¬perimental course.But it also means that Mrs. Bamberger’sphilosophy of music and her philosophy ofeducation are in sharp conflict with thoseof the music department in general.She isn’t only interested in building amusic department full of the biggestnames in the country, or in turning outonly students schooled in the traditionalprofessional skills. She talks a lot aboutrelevance—what goes on in the classroomshould touch everyone there in some per¬sonal way. Education can be a passive,isolated, and isolating experience or it canbe an involving and humanizing one.Learning about music or any other subjectmatter can mean learning about yourselfin the process and it can mean somethingexciting happening among everyone there. *Not many teachers are so interested inmaking learning dynamic and vital. It isimportant to realize the broader implica¬tions of the kind of teaching Mrs Bamber¬ger was doing and the reasons her col¬leagues found it so unacceptable.Mrs Bamberger’s situation isn’t peculiar.It’s notable because of the extra-ordinaryduplicity with which she was treated andthe additional abuse she suffered becauseshe is a woman, but mostly is a prototyp¬ical of many cases which do not receivegeneral notoriety. She points with profes¬sional indignation to the histories of twoother members of her department who suf¬fered similar abuse. And her situationmust remind many of us of the case ofJesse Lemisch, a radical historian and an¬other fine teacher, fired last year from thehistory department. His case was unique inthat the offense he caused influential facul¬ty members by his personal political atti¬tudes and actions figured in his dismissal.But his case, too, fits an alarmingly com¬mon pattern.We students must begin to ask ourselveswhy faculty members who excite and in¬spire us are fired. And junior faculty mem¬ bers of the various departments who enter¬tain divergent ideas about their subjectmatter or about the teaching of studentsmust begin to worry about their own jobsecurity—or about the compromises theyare forced to make to ensure it.The problems of innovative teachers cor¬relate well with some of the problems ofstudents. Certain types of education can¬not be found here. In general it is a tra¬ditionalist and conservative line that thedepartments offer: there are no socialistsin the economics department; no one inthe political science department who issympathetic to or even understands thirdworld anti-imperialist movements. The dis¬ciplines are carefully delineated and sepa¬rated, except in the NCD, a department inwhich, James Redfield says, only selectstudents can function well. And he decideswho they are.Students and new faculty members aresubjected to pre-defined, rigid, and tradi¬tional ideas of what are the legitimateareas of scholarly inquiry and what ex¬periences constitute education. Attempts toexplore new areas, to use scholarship tocriticize rather than rationalize, to injectdemocratic and libertarian relationshipsinto the classroom are all frustrated. Theconsequences of this elitist repression areundeniably political, and politically dan¬gerous.It is not a new charge that this Univer¬sity operates within and refuses to reasonbeyond a particular value consensus and aparticular closed conception of politicallegitimacy. The protest over the Levi in¬auguration dinner began to clarify theways in which the University responds tothe needs of the ruling class; the way itaims to produce a flock of other-directedprofessionals to man the laboratories, of¬fices, and classrooms of the future; theway its own institutional interests (its needfor expansion and for profit) distort itseducational aims; and the way its searchfor the truth ends at the point when thecontradictions and injustices of this societyare on the verge of being discovered orexplained.The character of this University op¬presses many people, both directly and in¬directly. The black resident of southcampus suffers in his way, the under¬graduate who can’t understand his owndisaffection or why his courses seem ab¬struse and irrelevant suffers in his, and thefaculty member who knows he must pur¬sue certain “legitimate” research, mustpublish, and must reflect, never challenge,his colleagues’ professional biases suffersin his. Mrs Bamberger’s predicamentspeaks atrociously well for itself andmakes even more disturbing sense in thecontext of an understanding of the univer¬sity’s liberal brand of repression.We would be happy to support Mrs Bam¬berger if she chose to fight to remain hereand to have her grievances redressed. Morelikely, she will find another, more tolerantplace to continue her work. In any case,we must be indignant at the treatment she and others have received. And we mustrealize that such abuses will continue untilthe power to make decisions in this univer¬sity is transferred from the few to themany; until tenured old codgers are de¬prived of their right to run a closed shopand to enforce, from their seats of power,their own sterile notions of what is com¬petent or valuable scholarship and what iseffective, meaningful teaching. They willpersist until it is acknowledged that stu¬dents can and must help select theteachers they will study with, help definethe goals and procedures of their courses,and until we speak up loud and clearwhen we’re dissatisfied.Teachers must be liberated from the ratrace competition in which a prestigiousname, an impressive list of publicationsand a healthy, traditionalist point of vieware prized above innovative scholarshipand teaching that encourages in studentscritical and creative thought. The futurewill hold more cases like Mrs. Bamber¬ger’s, and worse, unless we students beginto assert ourselves and to demand theright to define our own educational aimsand make the decisions necessary toachieve them.Jody SokolowerMichael Krauss'A Real Service'The special issue of the Maroon (Decem¬ber 6 ,1968) entitled “The Crime in OurStreets” was well done .The articles byHeck, Loth and Murray were of particularimportance for the light they cast on thelocal crime problem and the efforts beingmade to cope with it. A presentation ofsome of the facts and what was, for themost part, an intelligent interpretation,can go a long way towards correctingsome of the wilder forms of speculationthat characterize too much of the “publicdiscussion” of the crime problem.The Chicago Maroon can do a real ser¬vice for the University community by de¬voting at least one issue a year to an as¬sessment of the local crime problem. Itwould also help, when dealing with thistopic in the future, to make a few com¬parisons with surrounding areas and city¬wide averages. The local crime problem should always be taken seriously, butthings may not be as bad as most peoplesuspect.Hans W. MattickAssociate DirectorCtnter for StudiesCriminal Justicein'Thanks'The recent article in the December 6 is¬sue of the Chicago Maroon, “The Work¬aday Lives of the Campus Cops,” was veryinformative, authoritative, and done with atrue sense of honest reporting.I personally appreciate the sincere wayin which Sue Loth reported the day-to-daycrime fighting efforts of the campus secur¬ity police.All of the officers mentioned in the ar¬ticle and those on the campus force wouldlike to express their sincerest “Thanks” toyou and your staff for the way youpresented the facts about policemen whocare about protecting the wonderful peoplewho are a part of a great institution—theUniversity of Chicago. Our efforts to servefaculty, students, and university employeeswould probably have gone unnoticed if itwasn’t for the fine reporting of a memberof your staff.Again, thank you for representing us in afine piece of journalism.Sgt. John BrennanCampus PoliceNew DeanThe undersigned constitute a committeeelected by the faculty of the College tomake recommendations to the presidentconcerning the deanship of the Collegeupon the termination of Mr. Booth’spresent appointment as dean. We seek stu¬dent views on the qualifications for thisimportant office, and shall welcome opin¬ions from members of the student body.(The Maroon’s emphasis.)Marc GalanterGwin KolbRobert StreeterCharles WegenerJohn WestleyRobert Clayton (Chairman)CARPET CITY6740 STONY ISLAND324-79981 Has what you need from a $10used 9 x 12 Rug, to a customcarpet. Specializing in Rem¬nants &, Mill returns at ai fraction of the original cost.Decoration Colors and Qual¬ities. Additional 10% Discountwith this Ad.FREE DELIVERYTheses, term papersTyped, edited to specifications.Also tables and charts.11 yrs. exp.MANUSCRIPTS UNLIMITED664-S8 5 8866 No. Wabash Ave.Small Classes — Individual AttentionIntensive Tutorial-type InstructionMonterey Institute of Foreign StudiesUpper Division Graduate StudyLanguages and Area Studies—Arabic, Chinese, German, French,Japanese, Italian, Russian, Spanish—History, InternationalEconomy, Politics & Diplomacy—School of Education, School ofTranslation & Interpretation.A private liberal arts collegeAccredited by the Western Associationof Schools and CollegesI' u % SPRING SEMESTERJan. 29-Register Jan. 23-27SUMMER SESSIONJune 17-Register June 11-15For informationWrite to REGISTRARP.O. Box 1978Monterey, California 93940 FOR THE CONVENIENCE AND NEEDSOF THE UNIVERSITYRENT A CARDAILY - WEEKLY - MONTHLYVWS AUTO. • VALIANTS • MUSTANGS • CHEVY II]AS LOW AS $5.95 PER DAYPLUS 9c/mile (50 mile min.)INCLUDES GAS, OIL, 8c INSURANCEHYDE PARK CAR WASH1330 E. 53rd ST. Ml 3-1715January IQ, 1969 The Chicago Maroon 71THIS IS YOURCOUNTRYOONTLET THE B!&MEN TAKE IT■''AWAY.FROM YOUGOLD CITY INN* * * * Maroon"A Gold Mino of Good Food"IO %Student DiscountHYDE PARK’S BESTCANTONESE FOOD5228 HARPERHY 3-2559(Eat More For Less)Jry our Convenient TAKE-OUT Orders® ; The .Chicago. Maroon ' ATTENTION:Candidates for Teaching Positionsin Chicago Public SchoolsNATIONAL TEACHER EXAMINATIONSfor Elementary (K-8)and Selected High School AreasCHICAGO N.T.E. REGISTRATION DEADLINE DATE:Friday, January 10, 1969, 4:30 p.m.Chicago Public Schools will use the scoresas part of their 1969 certificate examinations for:Kindergarten-Primary Grades 1-2-3 Homemaking Arts Grades 7-12(N.T.E. Early Childhood Education) (N.T.E.- Home Economics EducationIntermediate and Upper Grades 3-8 Industrial Arts Grades 7-12(N.T.E.-Education in the Elementary Schools) iN.T.E.-Industrial Arts Education'Art Grades 7-12 High School Physical Education Men:N T E Art Education) (N.T.E Wen's Physical EducationHigh School English High School Physical Education Women(N.T.E. English Language and literature) (N T.E. Women's Physical Education'High School Mathematics (N.T.E Mathematics)All Candidates Must Take the Common Examinationand the Teaching Area Examination Relevant tothe Certificate SoughtPlaytex* invents the first-day tampon(We took the inside outto show you how different it is.)Outside: it’s softer and silky (not cardboardy).Inside: it’s so extra absorbent... it even protects onyour first day. Your worst day!In every lab test against the old cardboardy kind.the Playtex tampon was always more absorbent.Actually 45 ?e more absorbent on the averagethan the leading regular tampon.Because it’s different. Actually adjusts to you.It flowers out. Fluffs out. Designed to protect everyinside inch of you. So the chance of a mishapis almost zero!Try it fast.Why live in the past? iHf udju+tiftgtampons Applicants for teaching positions in theChicago Public Schools should:1. Register with the Educational Testing Service, Princeton, NewJersey to take the common examination and the relevant teachingarea examination. Registration for N.T.E. closes January 10, 19692. Indicate on the N.T.E. form, line 10, that scores should be submitted to the Chicago Board of ExammerS.Chicago Public Schools.3. File application for certification examination {form Ex-5) withthe Board of Examiners. The following credentials should accom¬pany the application (Ex-5), if not already on file: Official copy ofbirth certificate, official transcript of all college work attemptedThe application and credentials must be filed by Friday, February7. 1969, 4:30 p.m.The National Teacher Examinations will beadministered Feb. 1, 1969 on 400 college campusesFor additional information: Board of Examiners, Room 624CHICAGO PUBLIC SCHOOLS228 N. La Salle Street, Chicago, Illinois 60601or the Office of Teacher Recruitment,Chicago Public Schools or Teacher Placement OfficeGP ’W ’W ’W ’W 'V&Fi.O Please send me information about theL National Teacher Examinations for:£0 □ Kindergarten-primary grades 1-2-3P □ Intermediate and upper grades 3-8fo □ High school 4i,'subject area)NameAddressCity .CollegeQc* -a£*Vx *a£JUST BEFORE THE WARUrban America from 1935 to 1941 in photographsfrom the Library of CongressTHE BERGMAN GALLERY418 CobbJan. 7 to Feb. 1. Hours:Tues., Thur., Fri. 12-6Wed. 12-10. Sat. 12-5— C’EST... L'assurance Sun Life est un moyensur d'obtenir I’indSpendance finan-ci6re pour vous et votre famille.En tant que repr^sentant local de la SunLife, puis-je vous visiter k un moment devotre choix?Ralph J.WomI, Jr., CIUOne North LaSallo St., CKc. MM2FR 2-2390 — 72WM70OHkoHoorxf to 5 Mondays,Othors by Appt.SUN LIFE DU CANADADR. AARON ZIMBLEROptometristeye examinationscontact lensesin theNew Hyde ParkShopping Center1510 E. 55th St.DO 3-7644. ,. , PIZZAPLATTERPizza, Fried ChickenItalian FoodsCompare the Price!1460 E. 53rd Ml 3-2800, , . , WE DELIVERJam/ary 10, 1969"ALLREQUIRED &RECOMMENDEDBOOKS & SUPPUESFOR WINTERQUARTEROPENINGHOURS:FRI. JAN. 10 - 8:00 AM. - LOO P.M.SAT. JMI.U-1:30 AM.-4:30 PA.lllOII. JAR. 12-800 A.M.-8:00 P.M.TUE.JAN.14 < REGULAR HOURS"mm '' '"’’’TffTTT1H TOrcOTVitaTQtSdl 4-hc<CHha cnt\^utuUTHEUNIVERSITY OFCHICAGOBOOKSTOREONE OF THE MOSTPOPULAR ON-CAMPUSSNACK AND MEETINGPLACESON CAMPUS58TH & ELLISABOUT THE MIDWAYNew ChairsThe University has been endowed withthree new university professorships. TheWilliam E. Wrather University Profes¬sorship was created in memory of the for¬mer director of the United States Geologi¬cal Survey, who received his Ph.D. fromChicago in 1907.A Louis Block professor of medicine anda Louis Block professor of physics andchemistry have been established in honorof the late president of the Blockson Chem¬ical Company in Joliet, Ill.Dr. Joseph B. Kirsner, specialist in gas¬troenterology, has been appointed to themedicine chair; Kirsner is the author ofabout 400 publications and has been on thefaculty here since 1935.The first Block professor of physics andchemistry is Clemens C. J. Roothaan, for¬mer director of the computation centerhere, author of several articles and editorof various scientific quarterlies.Journalists NamedConstance D. Harper, city editor of theCall and Post, Cleveland, and Daniel M.Sheridan, assistant to the metropolitan edi¬tor of The Bergen Evening Record, Hack¬ensack, New Jersey, are the winners of thenational competition among journalistssponsored by the University center for pol¬icy study. Miss Harper and Sheridan have beennamed associates of the center for policystudy, and came to the University Mondayto work with individual faculty membersengaged in the urban field, in a new pro¬gram created to involve members of themedia and scholars in a closer workingrelationship.The program provides a grant coveringwork for two academic quarters in whichthe associates audit courses dealing withurban problems, work closely with facultymembers engaged in urban research orwith community programs, attend semi¬nars on urban affairs with specialists fromthe faculty and outside the University, andparticipate in the center for policy study’sconferences and projects on urban prob¬lems.Hillel DeliThe Hillel Delicatessen will open Sundayat 5:30, featuring the traditional Jewishstaples of pastrami, corned beef, salami,and onion rolls; all you can eat for $1,followed by folksinging until the wee hoursof the morning.The Delicatessen is now scheduled onlyfor Sunday nights, but members of thecommittee are hoping that if it is a successit can be turned into a daily affair some¬what akin to the Blue Gargoyle . ..BULLETIN OF EVENTSFriday, January 10DEADLINE: National Teacher Examination Deadline.For intormation, contact Reynolds Club, Room201, ext. 3285.RECRUITING VISIT: Nalco Chemical Company Re¬search Center, Chicago, Illinois. B.S., M.S.,PhD. Chemists. Will also interview students inchemistry for summer work who will completea minimum of three years of academic workby June, 1969, or are at any level of graduatestudy. For appointments call ext 3284.SEMINAR: "Mechanisns of Freezing Damage in Bac¬teriophage and Cells", Dr. Stanley Leibo, OakRidge National Laboratory. Rl 480, 4 p.m.LECTURE: "Virologic Aspects of Burkitt Lymphoma",Dr J T Grace, Director, Rosewell Park Memor¬ial Institute. Billings P-117, 5 p.m.DOC FILMS: "Band of Outsiders", Jean Luc Godard,Cobb Hall, 8 p.m.TRAVELOGUE: IHA Armchair Travelogue: Japan. In¬ternational House Home Room, 8:15 p.m.THEATER: Living Theatre, "Frankenstein", MandelHall, 8:30 p.m. All seats reserved, $5.50, $4, $3.ONEG SHABBAT: "Jewish Identity in America", stu¬dent discussion. Hillel, 8:30 p.m.the PLAY OF HEROD: Medieval musical drama bythe Episcopal Student Choir. University Churchof Disciples, 8:30 p.m.Saturday, January 11NCD: Discussion Group in Cobb Lounge, 2 p.m.CELEBRATION: Chess Club Celebrates Winning US Intercollegiate Championship. Third Floor, IdaNoyes, 3 p.m.CONCERT: Dedicatory Organ Concert, George Week-man. Augustana Church, 4 p.m.SUNDAY EVENING AT BONHOEFFER: "The Lawand the Poor-A Pot Pourri of Social-Legal-Racial Issues", David Ellwanger, Asst Director,Public Service Activities, American Bar Associ¬ation. Bonhoeffer House. Supper, 5:30, Program,6:30.SUNDAY SUPPER: Delicatessen, SI. Hillell House,5:30 p.m.CONTEMPORARY EUROPEAN FILMS: "The Collect¬or". Cobb Hall, 7 and 9:15 p.m.FOLKSINGING: Mr. Richard Weiland. Hillel House,7:30 p.m.Sunday, January 12SEMINAR: T-Group Leadership Seminar; for thosewishing to lead Small Groups Club groups.Anyone with training or knowhow especiallyinvited. BE 10, 10 a.m.VISA: Busses to Chicago St Mental Hospital, leavingNew Dorms, 12:30. Busses to Clayton Hoteland Threshold, leaving 12.CONTEMPORARY EUROPEAN FILMS: "La DolceVita", Federico Fellini, Cobb Hall, 6 and 9:30p.m.THE PLAY OF HEROD: University Church of Disci¬ples,, 8:30 p.m.LECTURE: "Violence only buys a busted head," FredBatson, American Friends Service Committee,College of Complexes, 105 W Grand Ave. 9 p.m.foreign car hospitalservice5424 kimbark ave. mi 3-3113 FoodDrinkPeople311 E 23rd Street2 blocks W of McCormick PlaceTelephone 225-6171Open 11 am to 9 pm/closed SundaysParty facilities to 400J&ntcr’is/i.'Vv * ir f y/•'/•*/// Xyou can hear yourself think . . . and if you don'twant to think, there's good booxc.Bass ale and Schlitx beer on tapTHE EAGLEcocktails , , , luncheon . . . dinner , , . late snacks , , *\5311 BLACKSTONE BANQUET ROOM __HY_3-I»33^ On Thursday and Friday history profes¬sor William McNeill continues his dis¬cussions of “The Human Adventure,” aseries of programs on the rise of Westerncivilization.LecturesDr. Wilfred G. O. Cartey, an associate inAfrican literature at Columbia University,will present two lectures and an informaldiscussion on African and Black Americanliterature next week.Dr. Cartey will lecture on “The New Af¬rican Literature” on Monday, Jan. 23, at 8p.m. in Cobb 209; and on “Caribbean Liter¬ature” on Tuesday, Jan 14, at 4 p.m. inCobb 209. On Tuesday at 8 p.m. in SocialSciences 305 he will discuss “The Poetry ofBlackness.”Dr. Cartey, who most recently authoredWhispers from a Continent, an explorationof contemporary African writing, is in¬volved in Columbia’s study of black cur¬riculum in American universities and highschools. Blood SceneBlood shortages that affected hospitals inmost large cities in the nation, but aspokesman at UC’s Billings Hospital statesthat Billings has not been experiencing anyproblems at all. In fact they are bookedsolid with appointments for blood donors.Alien ReportsForeign students, foreign visitors, aliensin the process of naturalization are re¬quired to report their addresses during themonth of January. Forms (which have tobe turned in at post offices) are availableat International House.ID's ValidationLast fall the Bursars office, apparentlythinking about something else, validatedmost new ID cards only to Dec. 14.William L. Dimmer, of the bursar’s lieu¬tenants, says that people who have thesecan “just drop in and we’ll be sure to takecare of them post haste.”Ideological Weapons of Resistance?Continued From Page Sixderstand that there is no conceivable vio¬lence that we can produce that can effectany changes. There is no mass base ofsupport, there is no place to hide if welose. This mass base should come even¬tually, but it is now so far away that weshould not even think about its use.Yet, people insist on worrying about“possibilities for violence.” Only at UCcould such pure abstraction arouse suchinterest and energy. A standard scene herebetween a committed radical and an un¬committed student goes something likethis:Uncommitted: How can you seize statepower without violence?Committed: I don’t know.Uncommitted: Well, you must show mehow. And you must lay out the utopia in the name of which you would seize powerbefore I’ll consider working with you.And, having forgotten his utopia-planswhen he changed shirts that morning, thecommitted radical can only wave goodbyto the uncommitted as the latter marchesoff to do research for Morris Janowitz onhow best to put down black revolts.So, let’s not be so careless or ridiculous.Let’s set about creating the most seriousand stubborn possible nonviolent resistanceto the direction of American society. Thiswill be hard and painful. We are settingour bodies against a blood-smeared ma¬chine. But we have no choice.(This is the first installment in a more orless weekly column written by contributingeditor John Welch 10 and news board mem¬ber Paula Szewczyk 11.)THE PLAYOF HERODA MedievalDrama in SongTonight and Saturday,8:30 P.M.at the Disciples Church, 5655 S. University (sameplace as the Blue Gargoyle)Presented byThe Episcopal Student Choir,Henry Beale, DirectorAdmission $1.00 at the door THEBOOKNOOKSpecial OrdersModern LibraryFull Line New DirectionsMost Paperback Lines10% Student Discount1540 E. 55th ST. MI3-75I IKoga Gift ShopDistinctive Gift Items FromThe Orientand Around The World1462 E. 53rd St.MU 4-6856COUNTRY HOUSERESTAURANTIn the heart ofSouth Chicago7100 So. Yates 363-9842GROUP LANGUAGE INSTITUTEReview the for*' iguage you have taken and learn three otherrelated languages at the same time.Enroll in ROMANIC 1 (Spanish, Portuguese, French, Italian)Enroll in TEUTONIC 1 (German, Dutch, Danish, Swedish)You will learn: Meticulous pronunciation, Basic vocabulary of 1,000words.Comparative grammarOne semester of 13 weeks, with two 2-hour sessions a week.Classes in Hyde Park starting Monday, January 13, 1969 eve¬nings. Fees moderateCall 288-0675 for full informationv r . .January 10, 1969 The Chicago Maroon * 9VAYAYAYtYAYI'lYutViV*,YAYAYAVAYAVAVYAYAY*AYiY.!AY/Wa. Galvin:“Group think”is typical ofbusinessconformity IS ANYBODY LISTENING TO CAMPUSVIEWS?BUSINESSMEN ARE.Three chief executive officers- The GoodyearTire & Rubber Company 's Chairman, RussellDeYoung, The Dow Chemical Company'sPresident, H. D. Doan, and Motorola'sChairman, Robert W. Galvin—are respondingto serious questions and viewpoints posed byleading student spokesmen about businessand its role in our changing society throughmeans of a campus /corporate DialogueProgram.Here, Arthur M. K/ebanoff, a senior at Yale,who plans graduate studies and a career ingovernment, is exchanging views withMr. Galvin.Dear Mr. Galvin:The trend on the nation's campuses istoward greater freedom—and responsibility— for the individual student. Whether theaction is extension of visiting hours forwomen or relaxation of courserequirements, the result is the same:a placing of greater trust in theindividual, and a growing array offlexible alternatives for that individual.Yet when he looks at business, andparticularly at big business, a student seesan organization oriented to the grouprather than the individual, and to thatgroup's security rather than theindividual's challenge. That "group" is anycollection of administrative peers andimmediate supervisors which meetsfrequently at all levels of the bureaucracy.What began as an attempt to imitate thehighly successful "team" of technologistshas become a plodding group ofadministrative bureaucrats. And whereasthe team produced, the group ponders.But "group-think" is a strange brandof thought indeed. Group-think placesa premium on affability rather thancreativity, and waste rather thanefficiency. Somehow, group-thinkdemands little or no substantive thinkingon the part of the individual. Dear Mr. Klebanoff:The desire of young people for greaterindividual freedom and responsibility isnot confined to the campus, but is acharacteristic of the maturing process.It is not a phenomenon of this generation.And it is a good thing when expressedconstructively.As a college student and member ofseveral important campus committees,you must be aware of the importance ofindividuals pooling ideas and efforts.University-sponsored research programsinquiring into needed social reforms, andworking out pilot projects as prototypesolutions—methods to overcome wide¬spread illiteracy in the ghettos; toencourage self-respect through self-help,for example—reflect team efforts. Evenactions undertaken by the dissenters andprotesters on campus result from"committee action" and not the blandish¬ments of one individual.The concept of granting more and morefreedom to act responsibly, withauthority, is not alien to business. It isfundamental. Individuals demonstratetalents. Those talents need each other forthe attainment of composite results. Inthe podling there is no loss of indivi¬duality or freedom.Lately, group-think has becomesynonymous with business administration.Some consulting firms exist merely tosensitize the individual to the group.Yet administration has always been thataspect of business meant to appeal mostto a socially conscious college generation.Is it any wonder then that the trendtoward individual freedom andresponsibility coincides with a growingalienation towards business as a career?My question Mr. Galvin is what willbusiness do to provide the individual withthe opportunity—and incentive—toperform, as an individual, the kinds oftasks he is both prepared andanxious to perform?Sincerely yoursArthur KlebanoffGovernment. Yale Business is, and must be, stronglyconcerned with the individual, but sincerunning a business is a team effort, therehas to be group orientation, too.In business, as in other fields, manydecisions and actions result from"group-think" meetings, which do indeeddemand substantive thinking from theindividual. It is my opinion that morecreative ideas come from a number ofpeople "thinking" together thanseparately. One person's ideas spark thethinking of another; some people arenaturally better at conceiving the germ ofan idea than at refining it to a practicaldegree. In a group-think one draws upona multiplicity of talents and viewpoints.I have attended many group-thinks butseldom one approaching your description.Certainly some were unproductive . . .but usually because of negligence in In the course of the Dialogue Program. ArnoldShelby, a Latin American Studies major atTulane, also will explore issues with Mr.Galvin; as will David M. Butler, ElectricalEngineering, Michigan State, and Stan Chess,Journalism, Cornell, with Mr. Doan; similarly,Mark Bookspan, Pre-Med. Ohio State, andDavid G. Clark, Political Science MAcandidate at Stanford, with Mr. DeYoung.These Dialogues will appear in this publication,and other campus newspapers across thecountry, throughout this academic year.Campus comments are invited, and should beforwarded to Mr. DeYoung, Goodyear. Akron.Ohio; Mr. Doan. Dow Chemical. Midland,Michigan; or Mr. Galvin. Motorola, FranklinPark, Illinois, as appropriate.disciplining the group to adhere to thesubject. Carefully disciplined, no-nonsensecreative sessions often produce table-bangings and heated exchanges ratherthan affability . . . and out of them maycome solutions to complex problems anddecisions involving millions of dollars andaffecting thousands of employees and thepublic. An inefficient or conformist thinkgroup would waste talents, manhours,and money.Business is to blame for the fact thattoday's college students must make acritical choice between business andother careers without sufficient knowledgeon which to base such a decision.Students daily exposed to the campus arewell-equipped with knowledge aboutteaching ; an abundance of facts onmedicine, government service, and manyother fields has long been available. Butbusiness has neglected to communicateadequately by way of personal experience,the really significant facts about therealities of business to the very peopleit is trying to attract.Its enormous accomplishments that haveproduced the highest standards of livingin the world ... its massive research anddevelopment programs that are probinginto outer space and underseas, whichwill profoundly affect virtually every facetof man's life ... its increasing directinvolvement in the social problems oftoday, and the efforts to devisepracticable means of dealing with rootcauses, not merely surface symptoms,are all part of the daily operationsof business.The solutions being achieved result from"group-think" efforts within acorporation, or between a number ofbusinesses, or as the result of acooperative effort between business andgovernment. No one individual possessessufficient facts or knowledge to direct allgrowth phases of a major enterprise. Noone sector of the economy has thetechnical know-how or resources to carrythe load for the continued forward thrustof our national progress.Within this framework there are"individual" selective tasks and goalsrequiring "individual" responses. It isthrough the intermingling of individualtalents that viable solutions to thecomplex problems of today, and thechallenges of tomorrow will be found.Sincerely,J.Robert W. GalvinChairman, Motorola Inc.10 TfcTdk^Aur ^n«,,,T.£rr,ii9 •>«*«» ( I(Chicago Maroon Classified Ads)UP AGAINST THE WALLguitar classes GARAGE—new door, well locked,lighted. 5407 Harper. Call HY 3-7443.AT THE FRET SHOPBegin Jan. 16thADULTS: beginning 7:30 P.M.intermediate 8:30 PM.CHILDREN: ages 9-14, Friday, Jan.17th Beginners: 4 PM.Intermeidate 5 PM.Private Lessons, Folk 8. ClassicAvailable.CHARTER FLIGHTS$50 reserves your seat on one ofSG's summer flights to Europe.Visit rm. 306, Ida Noyes Hall, 1-5:30P.M. Weekdays or call Ext. 3598. Lge. furnished rm. 493-3328.Len Handelsman, Jerry Lipsch ofStu. Govt, recommended nearby,economical, newly dec. unfurn. apts.2 & m rms. $75, $89.50. Free gas& elec. Clean, Quiet, Warm. Wil¬liams, 6043 Woodlawn. Short-termlease. Two weeks free.Furnished room kitchen priv. goodloc. Call HY 3-7443.Large furnished room, private bath,kitchen privileges, Madison Park.$50.00. Rate may be reduced bytending two girls, aged two andfive. Call Virgil Burnett, X4137.grape strikeMusical society meeting Tues., Jan.14 7 30 P.M. Ida Noyes mainlounge or call M. Levy 363-8211. 2 rms and bath on 3rd floor offamily dwelling in Hyde Park.Kitchen privileges. Suitable for 1or 2 female students. Rent to bearranged. Call 324-9379 evenings.TYPING ROOMMATES WANTEDTyping, 568-3056, eve. 4<#/p.May I do your typing? 363-1104FOR RENTQuiet sleeping and study room.Close to campus—male only. $45 permo. 5475 S. Ellis Ave. Apply Satur¬days only.NEAR UNIVERSITY OF CHICAGO3-5 room apartments, all with tile-baths 8. showers. Ideal for students,interns, nurses, young couples. NOCHILDREN. Rental $85-$105 callRE 4-4141. Own room—large, nice apartment—52nd and Kenwood—Call 643-2738.Bums need not apply.COE Dapt7‘ wa lk$32own R m667-4639.Need one in 3 man Hy Pk apt. 50/mCall 1-2, 5:30-7. 684-3644.Male grad to share 6 rm hse withsame. Exc. loc. DO 3-3710.Fern roommate wanted—own room,exc. location. Call 324-2445.Two female undergraduates desirethird roommate. $44 per month.643-9834.THE STUDENT CO-OPThousands of strangethings on our bookshelves—even some books.Hours: Monday to Friday 9-10Saturday 12-6'REYNOLDS CLUB $50/mo. 4Vi rooms at 6106 Ellis.Contact Musselman, 955-0412 eve¬nings.Rem. rmte. wtd., vie. 54th & Harp¬er, $70/mo. Call 955-3873.FOR SALELeaving country must sel! apt. fur¬niture; sofa, rug, table, bed, etc.363-2355.Good used TVs reconditioned. $24.958, up. American Radio. 1100 E.53rd, 53 Kimbark Plaza.7-ft. sofa, auto. elec, washer antfdryer, air cond., other merch. Allsolid quality. Steals. Ml 3-3445, af¬ter 3.TYPEWRITER. IBM elec, perfectcond. Best offer. 363-0447(PM).Steno mach. for a court reporter.Excel, buy—752-3393.PARADISE NOW—2 tickets goodseats, FA 4-9500X1621 Ive. mess.USED AUTOMOBILESSelected Trade-Ins67 VW excellent condition $137568 Volvo 142, like new $237567 Plymouth Valiant 2 dr. auto. $119566 Carmann Ghia excellent condi¬tion $119564 Rambler stick shift $325VOLVO SALES 8. SERVICE, 7720Stony Island, RE 1-3800WANT TO BUYUsed portable stereo; $100 or less.Call Jerry, 684-7027.LOST AND FOUNDWallet lost—brn 8< dk brn—need IDetc. Arimond, rm 1228 New Dorms.Lost: pr. d. brown leather gloves,fur-lined; label: Alexander's. Re¬turn to Info Desk, Adminis. Bldg.FOTAWanted: directors and playwrightsfor F.O.T.A. drama festival thisspring. No experience necessary.First meeting Wednesday, January15, 8:00 P.M. Reynolds Club SouthLounge. Call Lee Strucker, 752-4427if you can't make it.PEOPLE WANTEDEarnestly sought: Business Manag¬er for Chicago Literary Review. In¬quire Ida Noyes Hall, Rm. 305, Ext.3276. Commission and much love.Drivers for Mr. Pizza part-time,good pay. HY 3-8282.Bright ambitious student wanted ascampus representative for computerdating service. May work for com¬mission or franchise. Write CupidComputer, 1010 West Green *203,Urbana, III.Full time cashier—days—Sauer's225-6171.Humane KINETIC baby sitter. Nim¬bus 8. Odilon. Arrangeable after¬noons. $2/hr. 684-8141.Child care — 1:30-3:30 P.M. Mon.thru Fri. KE 8-2939.PERSONALSRUSSIAN taught by native teacher.Rapid method. Free trial lesson.CE 6-1423, 9-5.The Bakery restaurant has match¬books that say "Make love at home,eat here." Either they are verynaive or very dirty.Hillel House IS open evenings.Coffee tea and. . . available. Newcoffee shop begun.Put your money where your mouthis. Black-produced food productsare available in Hyde Park at theA8<P, Co-op, Mr. G's, and Nationalfoodstores. Black products avail¬able are: Joe Lewis Milk, BaldwinIce Crean, Parker House Sausage,Dixie Deluxe Sausage, MetropolitanSausage, Mumbo Jumbo BarbequeSauce, Grove Fresh Orange Juice,and Golden Crown Lemon Juice.Add your own dimension to role ofbusiness manager. We need you.Money, love, undying affection. Ap¬ply Ida Noyes 305, X3276. DEAR PABLOWE ARE THINKING OF PUTTINGOUT PABLO PICASSO NECKTIESIN AN EDITION OF 30,000 EACHWITH A DIFFERENT REPRODUC¬TION OF ONE OF YOUR PAINT¬INGS OKLA CEDILLE QUI SOURITDEAR CEDILLEARE YOU OUT OF YOUR MINDPABLODEAR ROY LICHTENSTEINSUNDAY SUPPER AT HILLEL.Delicatessen for $1.00 . 5:30, thisweek.GET IN FREE to Chicago's only3 day long FOLK FESTIVAL nextFebruary 7, 8, or 9. Sign up as aticket seller or office worker —Monday nite, Ida Noyes Library —8:00 P.M. Girl wants daily ride to-from 1500N. State — arrive UC 8:45 leave5:00 Ext. 3604, 9-5. Will pay. Noball freaks please.JEWISH IDENTITY IN AMERICA.A student paper read by Mr. Lau¬rence Edwards with response fromMr. Gariel Ende and Mr. RobertKrivoshey. Friday, 8:30 at Hillel.Make your NSF funds last for yearsStereo components at discounts.KLH, AR, DYNA. MUSICRAFT oncampus call Bob Tabor 324-3005.Good for the body and good for thesoul. Buy black-produced foodproducts.In Russia, at the Barbers'. A manis having the hair of his fur hattrimmed.MARCO POLO: adventure for thebroadminded. 326-4422. Open organizational meeting forFOLK FESTIVAL workers — comeand sign up to earn Free Tickets.Monday nite, Ida Noyes Library.Support Operation Breadbasket.Buy black-produced food products.PHOTOGRAPHY WORKSHOP. Be¬ginner 8> intermediate; 10 3 hr.sessions, Richard Gordon 8> KenRaider. Info 539-4487 before 10:30P.M."Beethoven's Fifth Symphony?Transcribed by Franz Liszt?? Per¬formed by Edward Chikofsky???FOTA!!!!"FUNNITE, Jan 11, 8-12, 5480 S.Kenwood, students — 75 cents.The way to get a laugh out of notgeeting a hard-on when you thoughtyou might is — to look at yourprick until It blurs.I pass the scissors to you crossed— wrong. Adon Olom.Non-white, Spanish-Speaking youngman desires white girls of radicaland/or liberal persuation to makehim feel EQUAL by having sexualinterludes with him. Write to ChicoRamos, 2026 E. Pratt St., Balto.,Md. 21231. Or phone 301-327-7091.Students for Israel presents Prof.Oscar Miller of the University ofIllinois speaking on "Israel Victoror Vanquished? Diplomacy sincethe Six Day War" on Tues. Jan14th at 8:00 P.M. at Hillel House5715 Woodlawn.A new, contemporary Mass Sunday,10:00 AM. By Charles Eubanks. St.Gregory of Nyssa Lutheran Churchat UC. At CTS Graham TaylorChapel, University 8< 58th. Sunday:10:00 AM. Missa Sancti Gregorii Open casting, tech work, asst dir's,for 5th wk orig plays, Fri, sat, sun3-5 P.M. I.N.H. Lib. UTSunday at 7:30 Richard Weilandwill lead folksinging at Hillei."The earth is but one country andmankind its citizens"BAHA'U'LLAH"It's archaic for a woman to expectmeat 'to be cut specially for her ina modern supermarket. She buystrozen turkeys because she has nochoice and the beef people shouldn'tgive her a choice either." — IowaBeef Packers' Treasurer M.L. Mc¬Gill quoted without comment inConsumer's Reports.SKI! Club meeting. Spring plans,MOVIE. All welcome. Ida Noyes, 8P.M. Thur., Jan. 16. Are you interested in playing GO.the national game of Japan? Call363-1169 for information about thecoming UC GO Club.FLUSH FOR FREEDOM!!If Krassner is hip to if, it's gotto be good.Sunday Suppers reconvene at BrentHouse. 6 P.M. Jan. 12, 5540 Wood¬lawn. Greal meal — only 75 cents.Q. Why doesn't the Soc Dept, wantDixon? A. Publishing, professionaljealousy, & politics. Comment:thats not real relevant.Students for Violent Non-Action?Teetotaler, n„ one who abstainsfrom strong drink, sometimes to¬tally, sometimes tolerably totally.Nyssae.There is so little to do, and somuch time to do it in.EARN FREE TICKETS to theFOLK FESTIVAL. Find out howat the Folklore society open meet¬ing — Monday, 8:00 P.M., IdaNoyes Library. A man taking a bath, he farts. Abubble comes up to the surface ofthe water then up to the ceiling,a burst of air carries it throughthe open window, across the street,and through the window of a roomwhere a couple are seen eating.Right over the table, the bubblebursts. Uxoriousness: n. perverted affectionthat has strayed to one's own wife.I had much less trouble directingfifteen hundred crows than onesingle actor. —Hitchcock.I hate pregr>*"t women, becausethen they have children.—HitchcockTHE NEW ADDITION—complete advertising art services.Specializing in cartooning, illustrations, slide presentations. CallUniversity Ext. 3266 -,J#pu*ry 10, 196? The Chicago MaroonTake one hourto leam howReading Dynamicscan benefit you!By JEROME M. O'CONNOR It's no accident that so many thousands ofmen and women...businessmen, housewives,professional men, students, educators, Congressmen...have taken the world-famous Evelyn WoodReading Dynamics Course...Come to our exciting,Institute Director FREE, one hour Orientation and be convinced.It’s an hour that could change your life. It's an hourwhen you will learn how to put the fun and joy backinto reading. It's an hour that will show you that youhave the natural ability to read as fast as you think.Don’t come to our Reading Dynamics Orientationexpecting us to put on some kind of razzle-dazzle‘‘magic show." complete with -impossiblc-to-use ma¬chines and gadgets. Don't come with the preconceivednotion that we're going to teach you to skim, skip orscan. Don't come with the idea that you're going tolearn how to "speed read.’’Come with an open mind and you'll have an exhila¬rating experience. You’ll be amazed when you see a documented film of actual interviews with WashingtonCongressmen (Proxmire, Talmadge and others) whohave taken the Reading Dynamics Course. You'll seefor yourself why the late President Kennedy was soimpressed with the scientific principles of ReadingDynamics that he had his White House Staff take theCourse. Every question that you could possibly thinkof concerning the Course will be fully answered by anEvelyn Wood Reading Dynamics expert.It's only an hour of your time... but it’s an hour thatcould well bring you a lifetime of benefits. It's an hourthat will show you the precious gift of more free time.Decide now to spend that hour with us!Ask about our special arrangements foron-site Group Classes in Reading DynamicsFREE ONE HOUR ORIENTATION! PHONE: ST2-9787'N CHICAGO ■ ot th« Reading Dynamics institute180 N. Michigon Avenue, Suite 400Mon Jan 13 S 30 PM*«•* Jon 14 1215PMWed Jon 1J J 30 PmThur Jon 16 12:15 PM IN PARK RIDGE • at the Park Ridge Inn Touhy at ,lhl AURORA - at the Valley National Bonk BuildingSummit in the Northgate Shopping Center (Route 31)Mon Jon 13 8 00 PM Wed Jan 15 8 00 PMWe<j Jon 15 8 00 PM Thur Jan 16 8 00 PMSat Jon 18 10:30 AM in PARK FOREST - at the Rich Township HighJan 17 12 15 PM 5 30 PM IN OAK PARK at 6525 W. North Avenue, Suite School, Sauk Trail ot Westwood. Room 202’130PM 201 Mo* Jon 13 800PM• -■ 800PM Tues Jan 14 8 00 PMSot Jon 18at I0540S Western Avenue. Suite 105 Tues Jon 14Tues Jan 14 800 PM Wed Jon 15 8 00 PMThur Jan 16 8 00 PM Sat Jan 18 10 30 A M.Sot Jan 18 10 30 AM ,N ctMHURST at the V.M.C A 211 West firstIN EVANSTON ot the Corlson Building. 636 StreetChurch Street. Suite 5 W ’ Mon Jon 13Mon Ion 13 800PM1 Tues Janl4Wed Jon 15 8 00 PM Sat Jan 18 10 30 AM 8 00 PM8 00 PM .LIFETIME MEMBERSHIPAs a Reading Dynamics grad¬uate, you are entitled to takea Refresher Course at anytime, and as often as you wish,at any of the 150 EvelynWood Reading DynamicsInstitutes in the United Statesand in Europe. OUR POSTTIVE GUARANTEE OF TUITION REFUNDThe Evelyn Wood Reading Dynamics Institute willrefund your tuition if you do not at least triple yourreading index (reading rate multiplied by comprehen¬sion percentage) during the Course as measured by ourstandardized testing program. This policy is validwhen you have attended each classroom session andcompleted the minimum daily assigned home drill atthe level specified by your instructor. CM - I IThe Evelyn WoodReading Dynamics Institute180 N. Michigan Ave. • Suite 400 • Chicago, 111. 60601□ Please send more information.□ Please send registration form and schedule ofclasses. I understand that I am under no obligation. 110 ■Name.Street.City. .State. .Zip.. exhausted?-UNDERSTANDING COMESFASTER WITHCLIFF S NOTES'OVER 175 TITLES $1 EACHAT YOUR BOOKSELLERJUiffSkNotes^l INCOl N NEBRASKA 68501Be Practical!BuyUtility ClothesComplete selection ofboots, overshoes, insu¬lated ski wear, hoodedcoats, long underwear,Corduroys, “Levis,"etc., etc.UNIVERSAL ARMYSTOREPL 2-47441364 E. 63rd. St.The Carpet BarnA division of Cortland CarpetWe have an enormous se¬lection of new and usedwall-to-wall carpetings,staircase runners, rem¬nants and rugs (a large se¬lection of genuine andAmerican orientals).We open our warehouse tothe public for retail saleson Saturday ONLY from9-3.1228 W. Kinzie (at Racine)243-2279EYE EXAMINATION^FASHION EYEWEARCONTACT LENSESDR. KURT ROSENBAUMOptometrist53 Kimbark Plaza1200 East 53rd StreetHYde Park 3-8372RUNNING OUTof time for undergraduatestudents who wish to applyfor financial aid for the1969-70 academic year.Application, including Par¬ents Confidential Form,must be submitted byJanuary 25. Forms may bepicked up now at Office ofAdmissions and Aid, 5737University. Ext. 4592pro Cjraficu -ArlePop art prints, etc.155 E. Ontario/642-004712 The Chicago Maroon January 10, 1969 Miifeott•*i. * ■ \ {i.: ii'tl. i: i > i ?5i; . > u u i, n : > + : ■ ***?*? *r r t* " tr+iTtrt ■THE GREY CITYJOURNAL Number Nine January 10, 1969Living Theater at Chicago Mc‘>V’i ,1k .\\v, r \ / *>*\Beck Answers Theater’s CriticsJulian Beck speaks!!Julian Beck and Judith Malina (Mrs. Beck) have beenworking in the theatre since the late 1940’s as actors,directors, and designers. During the 1950’s they andtheir group of actors performed in a number lofts. Theyperformed works by avant garde playwrights and gavenew productions of old playwrights. In 1964 the InternalRevenue Service brought charges against them for in¬ability to pay back taxes. Soon after that they and anumber of members of their Living Theater left to goto Europe where they have been touring ever since.They will be traveling in the United States until thespring when they will return to Europe-The Living Theater has stimulated critics to newheights in their attacks. Here they are given a chanceto answer their critics.They are being interviewed by Jessica Siegel.Eric Bentley feels that making certain people so madthat they leave the theater and go home should not bethe aim of the theater. Do you think so?Judith Malina: I think that the aim of the theater alwaysis to move people in such a way as to change themprofoundly. I think that sometimes it happens that peoplewho leave the theater angry are changed by wTiatthey’ve experienced; in that case it’s useful. I feel per¬haps they would have gone even further in to it if theyhad stayed but for them perhaps that’s the right action. Idon’t know if we can always judge the degree to whichthe spectator has been changed, transformed, in someway mutated by whether his reaction is in some waypositive or negative. Of course we are aiming for a posi¬tive reaction. We would like to fill the spectator with joy,a great glow and great revolutionary hope. Howeversometimes there are spectators in whom that road has tostart by being shook up a little and if that is necessaryfor that spectator that might be good. Now sometimesthat might not be good. Sometimes just the spectatorwho might have been most moved left before the scenethat most moved him and that’s then unfortunate.Julian Beck: We try to reach the spectator throughmany devices, many means, some of them metaphysical,penetration through the skin, the use of disturbing sym¬bology, the stirring up of some emotions that one mightregard as negative such as irritation, annoyance, hys¬teria, revulsion, boredom. But sometimes it is these verythings which will force a spectator to take direct actionto the degree that he will get up and leave the theaterbut that he will become so mad that he will become sofeelingfully angry that he will split. But this may be theway that will simply begin his particular journey to¬wards real change, that is to a personal revolution. Therevolution is not possible without each of us undergoing apersonal revolution.He also says by making the characters remote fromreal life (he compared your Creon to Ubu Roi) you arenot making the parallel to present day event clearenough. For example he suggests presenting a Creonwith a splendid liberal record. You reject that — why?Julian Beck: I think that in the modern theater Creon isalways played as a liberal with a splendid record andthis is the way we are used to see our statesmen. Weknow they are like that on the surface: they are calm,pleasant, intriguing, elegant, rational and the moderntheater-goer is aware of that. He has enough portraits ofthat certain man on television but we try to show, what Itried to show was the real Creon, not the surface person¬ ality. I wanted to give the spectator the opportunity toknow what the statesmen is really like. What I was try¬ing to do was give a portrait with many facets but allwhich displayed the perversity, the sickness, the irratio¬nality, the actual irrationality in the thought of this man.So that instead of giving an old-fashioned realistic pic¬ture which lies, which does not tell the whole truth,which says see see this man is a rational creature, I amtrying to say to the public: “This man who is in thepublic, do you not see it, a person who is very deeplydisturbed.Judith Malina: The difference in this instance that Julianis talking about is to show the gentleman of the confer¬ence table and the signature that he signs in the trail ofblood and murdered babies.Bentley criticizes the Living Theater as having thecharacteristics of a revival meeting. Do you feel this isyour definition and your approach to a political theater?Julian Beck: I think the purpose of the theatre is toserve the needs of the people. At the present moment inhistory it seems that the people need revolution, thepeople need change. We know that the system withinwhich we live, the structure of the society at the presenttime, is poisoning life on the planet. Consequently whatwe are trying to do in our theater is to bring people to apoint which they not only question the environment aboutthem but take direct action, take direct action. That isthe intellectual theater of the 20th century has been atheater in which people think, that is they go to thetheatre, a problem is put before them, they think aboutit, they go home and they think some more about it, andit dies inside the brain, dry and corrupted by the simplefact that it does not go from thought into life itself. Sothat in our work in the theater we have tried to bringpeople to the point at which they will take action. Andone of the means of doing that is to let people feel thejoy of taking action and if people can feel the joy oftaking action in the theater then perhaps they will ex¬tend this sense of joy and this desire for joy into lifeitself. I think that Bentley puts down action because heis afraid actually of action. Like the intellectual he seeksthe comfort and repose and security of closet thoughtand this is dangerous. We are trying to lead people outof the darkness of the confined chamber, the chamber ofthe mind, the chamber of the theater, out into the street.We are trying to revive sensation and revive feeling. Itour theater works in that sense inspirationally I think ithas very much succeeded.Another one of his criticisms is that you perform a“pseudo-orgy” and limiting the lovemaking to petting.Are the g-strings merely protection from the variouslaw-enforcement bodies or do you believe that these“half-way measures” as Bentley would call themachieve the same effect as a real orgy? And are thesedevices compatible with your idea of breaking down thebarriers between art and life?Judith Malina: Let me say first of all that that is very,very funny what you just said. That the effect of a theat¬rical scene about the limitations of the law should havethe same effect as a real orgy and I think that is reallyfunny. And if Bentley said anything like that he is veryfunny too but I don’t think he did. In Paradise Now wedo a scene about the limitations the law sets upon us. Wepoint out that there are certain things we are not allowedto do including to take our clothes off. And we don’t takeour clothes off because we are not allowed to. And that’sreally all there is to say about that and the rest is news¬paper nonsense.Julian Beck: That is, in this first scene in Paradise weare defining the here and now and we define the hereand now as a soceity of prohibitions. We say that one isnot allowed to travel freely in the world, that you can’tlive without money, that we do ont know how to stop thewars, that we are not able to fulfill our desires which isrepresented by the fact that we are not allowed to smokemarijuana. Then we say we are not allowed to take offour clothes and we demonstrate this fact by taking offall our clothes to the legal limit because we want tomake it very clear to people: we are indeed locked out¬side of the gates of paradise. However the prurientspectator is eager for us to take our clothes and resent¬ful when we do not and therefore in a sense misses themeaning of the scene itself.Judith Malina: The degree to which the spectator thinksthat this scene is about taking ones clothes off and not ascene about legal prohibitions is the degree to which theprurience of his mind is made perfectly clear. And this,of course, is exactly the painful and ugly result of thelegal prohibition.Do you feel that you can successfully cross the highbarrier Bentley seems to feel there is between the au-diance and the actor and invilve the disparate elementsin the audience in the performance?Judith Malina: YesJulian Beck: I think it happens in Paradise now. It is nota matter of giving a verbal answer to that, I think theactuality answers that. Bentley feels that in many ways the Living Theaterresembles the Establishment’s theatre of Broadwavwhile all the while espousing an alternate approach. Hegives as an example the fact that while saying you areagainst the “star system,” the fact remains that the twoof you are still stars or as he puts it “the focus of amystique of personality.” He gives for an example thefact that Antigone is interrupted to mention “the banish¬ment of Judith Malina from the United States.” He alsosays the fact that the Living Theater has produced noother directors other than the two of you is an exampleof this too.Judith Malina: Well there are several questions thereFirst there are the lines that are not written by Brechtinserted in Antigone. I think that perhaps I spoke ofAntigone’s banishment in Brecht’s lines in such a person¬al voice that a critic thought I was speaking of myself. Ican only take that as a compliment. However, I think, ona more serious level that this is exactly the kind of panicthat an astute mind can go into. There are several linesin this play which we address the audience directlywhich usually begin with something like: “Creon said:”or “Antigone said:”. They are a poem that Brecht wroteto accompany the rehearsal of his Antigone, his trans¬lation. We insert them in the play though Brecht insertedthem only in the rehearsal period and we leave themthere as explanations to the audience. In foreign coun¬tries we play them in the language of the country assubtitles. Again of course it is true that Julian playsCreon and I play Antigone. However I think that in noneof the other plays is Mysteries, in Paradise do we takeany role exceptionally or more dominantly than othermembers of the company. Of course Eric Bentley knowsus a long time; he has watched our careers for twentyyears. The Living Theater has gone on for twenty yearsand he sees us as predominant like that. We don’t like tothink like that and the company does not think of it thatway. And I don’t know how much of the public thinks ofit that way. I think in Paradise, which is the most advance play, the newest play, the one in which we havetaken the greatest step there is no moment in whichJulian and I predominate for instance or in mysteries doI think that Julian and I predominate in any way at allIn Frankenstein we didn’t play at all and then Julianreplaced an actor who was ill and then played a pre¬dominate role. Otherwise I think this is a mystique inEric Bentley’s mind, once again very flattering to us butnot flattering to the concept of the Living Theater com¬pany at all.Julian Beck: I think also that two of the major directorsof other theaters in the country at the present time cer¬tainly began their theater work at the Living Theater.One is Joe Chaikin who is the director and founder, andthe leader of the Open Theater and the other is Law¬rence Komfeld who is the most prominant director at theJudson church in New York City.Judith Malina: We could mention serveral others but ifEric Bentley means that none of the directors and de¬signers who have come out of the Living Theater areworking on Broadway, thank goodness none of them are.But I think that if a look at the names of the peopleworking in all the important theaters today will showthat the Living Theater has influenced a lot of peoplea lot of people have gone out of the Living Theaterinto as interesting, more interesting experimental theaterwork.Judith Malina acts with company.The Grey City Journal January 10, 1969Audiences Give Theater Mixed ReviewsBy Farinda WestTHE LIVING THEATRE hit Chicago audiences with' two radically different evenings of theater Tuesday andWednesday. Both evenings were totally successful des¬pite the fact that Tuesday’s audience walked out of Mys¬teries and Smaller Pieces annoyed and angry, whileWednesday’s audience applauded Antigone wildly for fif¬teen minutes. The performances were designed to re¬ceive exactly the responses they were given.Tedium was a constant element in Mysteries. The eve¬ning began with half an hour of an empty stage, followedbv another half hour of a bearded man standing alone onthe stage in a spotlight, rigid and expressionless. Theaudience began to heckle him — “Encore! Get the hook!I'd hate to see the dead theater! — ” but he nevercracked. The rest of the group finally began an in¬tricately choreographed ballet but the annoyance contin¬ued to be an important part of the show throughout theevening. Instead of ending, each scene dragged on untilit blended gradually into the next. When action was in¬teresting or amusing, it was taking place all over thehall, so that one could rarely keep one’s attention fixedon one place or one actor.k In general, humming and wailing and screechingserved in place of language. The only declarative sen¬tence spoken all evening was, “Unscrew the seat you’resitting in and burn down this university. Your technology1 is killing our children.” The only other familiar use oflanguage was in “Street Song,” a chant based on shortpolitical slogans — “End the war . . . Abolish money . . .Feed the world . . . abolish violence . . . Open the doors\ of all the jails . . . End the draft... for peace.”The evening ended as slowly as it had begun, with anincredible scene of desolation of war. After a long sceneof wailing and dying, the living removed the shoes of thedead and placed the shoes on the stage. One by one, thedead were carried by their necks and ankles, stiff asboards, to the stage and piled into a pyramid five deep.The lights went out, but no one knew whether to applauduntil the lights started going on and off. The actors stoodthere, embarrassed, some bowing, some motionless,some applauding the audience. Signs of appreciationstopped suddenly both on the stage and in the house andaudience walked out.It seemed that by mistake we in the house werepresent at a ritual celebration impossible to understandand annoying to watch. But it seemed to be a total ex¬perience intensely rewarding for the participants. Every¬thing they did was more significant than sitting in Man-del Hall eavesdropping on a mystery. Furthermore,there seemed to be an order and meaning to the mysterycomprehensible only from within it. At one point, theactors locked arms in a circle on the stage; a beam oflight filled the ring. Their silence grew to a loud humwhich in turn changed to a chant and then a song with¬ out words. It lasted forever and was deafening. Itseemed that the God of the Theater had been invokedand was present in the circle and that nothing was moreurgent than to join his celebration. My hands shook somuch at intermission I couldn’t hold a cigarette.Despite the lure of the mysteries and the drain ofwatching them, they were impossible to join. First, thedemands on the body were gigantic. Second, except forone exercise, every event was precisely staged; onewould have to learn the dance to join the ritual. Third,one needed the mental discipline of a yoga to maintainconcentration — I don’t think that anyone who once stoodmotionless for half an hour while an audience hooted himwould ever live a normal life again. The whole castmaintained an unyielding concentration throughout theevening.Antigone was a play. We know what was happening,and we were familiar with the form — beginning,middle, and end, two actors and a chorus, prologue, epi¬sodes, and epilogue separated by choral songs.Two of the Sophoclean choral odes were very effective¬ly presented. For the choral ode “there are many mon¬strous things but none more monstrous than man” thechorus was in the aisles. A wraith woman shouted eachline directly into my face, six inches away. For anotherode, the chorus lay on its back waving its arm as thecorpse of Polyneices floated among them.We can be grateful to Brecht for the device that madethe evening comprehensible: narration. Before each ex¬change of dialogue, one of the actors explained in anormal voice what would happen. Brecht added a newending and gave Creon a second son. He also addedhumor.Most of the play, however, belonged to Julian Beck,Judith Malina, and the Living theatre. Borrowing fromLyndon Johnson, Richard Nixon, James Cagney, W. C.Fields, Punch and Judy, and Antonin Artaud, Beck is ahorrid and ridiculous tyrant. Malina’s Antigone hoversbetween misery and hysteria.The chorus threatened to swallow both the audience and the principals. They staged a terrific battle — SevenAgainst Thebes from the soldiers’ point of view. Incred¬ible human war machines mowed down the actors —chariots, battle axes, dart-throwers, catapults. Finally,all the actors were castrated, drawn and quartered.They withdrew into two choruses, leaving the corpse ofPolyneices lying on the stage.The corpse was a major character: Antigone madelove to him; Antigone and Ismene tossed him betweenthem; Creon dragged him around the stage. As a ghost,supported by Antigone and Haemon, Polyneices walkedover the prostrate Creon.The most annoying part of the production was the sty¬lized orgy. Lasting an hour, it dwarfs and jumbles allthat Creon, Antigone, and Teiresias do.The ending of Antigone was the most powerful scene ofthe two evenings. After the chorus realized that “theArgives are coming!” the orgy ends. As one body, theentire company was slowly pushed back against the wallby an invisible force. As they were being crushed, thelights went out. Thunderous applause.In Antigone, the revolutionary theme was stated in achoral aria: “Anyone who uses violence against hisenemies will turn and use it against his own people.”This explicitly anti-war theme, set within a dramaticstructure relatively famliiar to us was able to move theChicago audience, where Mysteries did not. But Mys¬teries is far more revolutionary and more potentiallysignificant. Out of elements of the drama taught in anyacting school, the Living Theatre has made a new reli¬gion, capable of ordering (or liberating) one’s whole life.To appreciate its action or to understand its mysteriesthe play demands complete preparation and dedication,but so does any religion. In the context of “unscrew yourseats” and “abolish money,” the question of whether itis theater or not is irrelevant — how can there be apaying audience with no seats and no money? If youhooted, heckled, and stoned the Living Theatre you cansay that they asked for it — Christ came to Jerusalem tobe crucified.Culture VultureThe University of Chicago finally did it. Imagine get¬ting a cultural attraction before Slippery Rock State Col¬lege! Julian Beck and Judith Malina (the Mr. and Mrs.Mao Tse-Tung of their own cultural revolution) and theirtroop will be appearing Friday, Saturday and Sunday at8:30 in Mandel Hall. Paradise Now has attracted thevarious representations of the Vice Squad in every city(except swinging Brooklyn) so Chicago’s own will prob¬ably not miss the invitation. The audience is an impor¬tant part of each performance and if you feel repressedbe sure to go to lose your inhibitions (better than aT-group). You may also witness quite a theatrical event.This weekend is the weekend of the Living Theater butfor all you who are anti-legitimate theater (or for illegiti¬mate theater, otherwise known as the bastard of thestage — the film) there will be a number of films oncampus this weekend.Doc Films (or the good old Doctor as it is now called)is presenting Jean-Luc Godard’s Band of Outsiders. Ithas been referred to as “Alice in Wonderland MeetsFranz Kafka”. It is about gangsters and love (no it isnot a remake of Guys and Dolls. Contemporary European Films is showing on Saturdayone of those films you hate to admit you haven’t seenwhen talking to any film authority La Dolce Vita. Arrivelate or through the back door (or laugh sophisdicatedlyand say, “I just wanted to see it again for the fourthtime” and nobody will know the difference.)On Sunday Contemporary European Films is present¬ing The Collector which is about a man who runsthrough a field with a net chasing a woman not but¬terflies. Watch your step girls or before you know it youwill be pressed and pinned and labeled “Femininae Chi¬cagoan”The Bergman Gallery is exhibiting a group of photoscalled “Before the War”. It is a very affecting collectionand unlike everything else around here there is nocharge or mandatory paper.Tonight and tomorrow night at 8:30 in the Disciples ofgreat medieval vaudeville show, The Play of Herod in aracy new translation by David Bevington, Professor ofEnglish, who knows Latin. It’s real thirteenth centurysynesthesia and ought not to be missed. It costs a buck.January 10, 1969 The Grey City Journal 3rr —-Luc ' V ' _ mIS"Jean-Luc Godard is the only contemporary director with the ability to expressthrough graceful cinema what young people are feeling at this time.Andrew Sarris, The Village VoiceA DOC FILMS presentationFriday January 10Cobb Hall7:15 and 9:30one dollar Band of OutsidersBv the director of BREATHLESSTONIGHT and SaturdayThe Electric Theatre Co. presents atThe Kinetic Playgound4812 North ClarkALBERT KINGLINN-COUNTYSHOW STARJS 7:30-TICKETS AT THE DOORThis investmentstarts paying dividendsin three years.Most cars last about as long as the loans that payfor them: three years.In Sweden, where it’s tough being a car, Volvolasts an average of ] 1 years.And while we don’t guarantee that a Volvo willlast 11 years in America, we do know that over95'^ of all the Volvos registered here in the last11 years are still on the road.So if you buy a Volvo from us now, it’ll still beworth owning three years from now when you getit paid for. You’ll be able to stop making car pay¬ments and start making payments to yourself. Andinstead of paying interest to the bank, you’ll beable to have the bank pay interest to you.VOLVO SALES &SERVICE CENTER, INC.7720 STONY ISLAND AVE RE 1-3800 CINEMAChicago at MichiganMarsters American "Robertson'sperformance is so right it makes youfeel sure that no other actor in theworld could have played it so well."Lesner Daily News "Unusual film. Asensitive drama."Terry Tribune "Robertson gives oneof his finest performances and cer¬tainly his most outstanding since"The Best Man."Ebert Sun Times"Three Stars"Cliff RobertsonClair Bloom"CHARLY"$1.50with I.D. cardevery day but Sat. MR LOWEPRESENTSVanguard Recordson SaleList Reg. Lowes Now $359$579 $459 per recordVanguard the Home ofBuddy Guy Eric AndersonJoan Baez Buffy Sainte-MarieSiegal - Schwall Sandy BullCharley Musselwhite Ian & Sylviaand the Best of Folk & BluesLook to Lowe’s for service...selection.. .savings1538 East 55th St.MUseum 4-1505 Mon-Fri 9:30 to 9Sun 12-5MORGAN’S CERTIFIED SUPER MARTOpen to Midnight Seven Days a Weekfor your Convenience1516 E. 53rd. ST. Terence StampTHE Samantha EggarCOLLECTORSun., January 12, Cobb, 7 & 9:15, $1 (Series Ticket $5), CEFThe Grey City Journal January 10, 1969 11' mTo quote him, Bentley feels, “An effective theater ofcommitment, however dim a view it takes of the societyat large must perforce receive its quests with courtesy.”He feels your on-stage violence belies your non-violentespousals.Judith Malina: A lot of people feel that everytime yousay something passionate, you’re violent. Yes, one of ouractors here, Carl Einhorn says he should read Artaud.Yes. I think the theory of Artaud is really the answer tothis problem. I think there is a great difference betweenpassion and violence. I think politeness is the bane of theworld. I think that the statesmen who politely shakehands and sign the statement of war which then wouldkill thousands and millions of people and they politelyhave coffee together and say, “Well, I guess our coun¬tries will be fighting soon. Let’s sit down and have acivilized drink together.” And I think that the politenessthat takes in the parliaments of the world is the mostdeadly murderous action going today. And I think polite¬ness has a lot to do with it. I think that the politeness isa cover-up for the greatest evils on earth today. I thinkthat of course one should be loving at all times to one’sfellow man but that kind of fake courtesy, that kind ofpoliteness, that kind of smiling and speaking in a civ¬ilized tone while people are screaming and dying and inagony is exactly what the revolution is about.John Lahr criticizes you for basing your views ex¬pressed in the plays on and using the terms of suchin elleetual works as Norman 0. Brown’s Love’s Bodyand R. Laing’s The Politics of Experience. It it is so,does this remani consistent with your view that you “arenot interested in the intellectual because it cuts off feel¬ing? Anyone can verbalize and agree with the war.” lutionary impulses that a man like Brown or a man likeLaing are trying to serve. Both of them would say thatthe physical and not the intellectual impulse are the im¬portant ones. That is, both of these men are crying outfor feeling; at the same time they are constructing theo¬ries. We want to take it now into first theatrical actionand then what we are working to do with the audience isto take into action beyond the theatrical into revolution¬ary action outside the theater.Lahr also criticizes the Living Theater for inflaming arevolution without discipline — it excites the audiencewithout pointing out a method. Does this attack merelysubstantiate your claim that you want to “plant appleseeds”?Judith Malina: Sock it to ’em.Julian Beck: If the revolution is going to happen becausethe Living Theatre has come out, it is not going to bebecause a group of actors, directors, designers, peoplewhose vocation is the theater have come out with a planfor revolution and for change. The revolution is going tohappen because it takes place in everybody’s head andbecause a large number of people are supplying the an¬swers and solutions. We work at this particular stage inrevolution as a programming cell. We are telling peoplewhat’s going on, where things are at, and suggestingvarious forms of action and trying to stimulate themtowards further action.Lahr also attacks the Living Theater from anotherangle calling it “a laxative for middle class hostility”. Ifit is such does this purging of therapy dull the chance ofany political action which might arise from conversion tothe Living Theater’s views?Julian Beck: We will learn the answer to that when therevolution does or does not take place- I think. And if atthat time one is able to assess the little Living Theater’scontribution to it.Judith Malina: There is another contemporary sayingabout the Living Theater since I got on to the jargon linewhich refers to the day of the coming of the revolutionas the time when “the shit hits the fan” and if this hassomething to do with this purgative action, sure there isgoing to be a lot of shit and there’s going to be a lot ofwhat is binding us up and tying us up. It is going tocome out in great spurts of emotional, psycho-sexual,political revolutionary diarrhea and I would considerthat as in medicine when a person is severely tied up inthis way I would consider this a very wholesome effect. Idon’t think it is all of it and to begin to therefore saythat all one wants is that is again that same kind ofexcluding kind of nonsense where you say your eitheryou have this or you have that. The revolution of whichwe speak is going to take place on many levels. It’sgoing to many kinds of revolutions at once. It’s going tobe intellectual, it’s going to be heroic, it’s going to bephilosophical, it’s going to be political, it’s going to beeconomic and it’s also going to have a lot of shit comingout before it succeeds and that’s certainly part of it.dive Barnes in defending Living Theater in an answerto Bentley suggested that Living Theater was leading theway from verbal theatre. Do you feel that words havebecome inadequate in presenting our present predica¬ment?;. » m m January 10, 1969'. ‘ ‘ t •• * v * ■ 'c i ;■ ir , y V - V 5 *> X 'll % 'v % b % ■* 4 X 'X > '* *'* M X X V X *4 % 'V 4 \ X + %Beck Interview‘An effective theaterof commitmentContinued from Page TwoJulian Beck: What we are talking about is the process ofbeing exclusively intellectual. What we are looking for isunification on all levels of being and certainly unificationwith the body and the mind. The problem with the in¬tellectual is that he upholds the mental processes andcuts off the physical ones. We’re trying to put the twotogether. Now if we are going to relate to the minds, and,structure our plays to a degree about the mind, thencertainly our references should be to the most com¬pelling examinations of the mind we can find. And if wefeel R. D. Laing and Norman 0. Brown have somethingimportant to contribute concerning either anarchism ornew levels of experience then their work becomes part ofour work.But at the same time we’re trying to connect this withreal feeling. And it seems to me peculiar that Lahrshould make reference to this fact and leave our refer¬ence to the fact that at the same time and in the sameworks there is enormous reference to non-verbalism, pre¬verbalism, various forms of sensate expression that arefar from intellectual in form or expression.Judith Malina: This is an old-fashioned idea. It is abouttwenty years old that people have been saying either youare for Artaud and the physical or you’re for Brechtand the mental. It’s really become a very banal argu¬ment. Clearly we need both. If we were not part of whatthe revolutionary thinkers are thinking today, wherewould we be? We are, I suppose, serving the same revo¬ Concerning the theater as a vehicle of social change:considering the theater’s audience, especially in theUnited States — aren’t you going to expose yourselves toa small minority of the population?Judith Malina: I think that our plays will say somethingvery different to say, the bourgeois theater-goer, the rev¬olutionary student, to the bored student, to the theatercritic, to the intellectual, to the non-intellectual, but weare trying to say something which will have some mean¬ing to all those people. On the other hand, the economicstructure in which we, Living Theater, are trapped, feelstrapped and want to get out, of course, l.imits the possi¬bility of our speaking to people not only we want tospeak to, but also we want to hear from — the peoplewho don’t go to the theater who are the people we mostwant to play for. And here I would say the critic is rightwho says we don’t fulfill our entire duty. Somehow weshould go out and play in the streets. We believe that butlike all those people who don’t do all the things theywant to do for the revolution here we think and say“How do we eat” which is everybody’s excuse and there¬fore is an invalid excuse. We have to try to figure outhow to get out into the streets, that’s what we’re lookingfor because while I think we can speak to all the kinds ofpeople who come to the theater because we’ve takenthem all into consideration, we can’t speak to thosepeople who don’t come to theater and those are the mostimportant ones.Julian Beck: If we are successful in finding the solutionto this problem and even if we are not successful infinding the solution to this problem, I think that thisproblem represents our next important work. We have tosolve how to get out of that theater which caters to thebourgeois elite which has the habit and the advantage ofgoing to the theater today, the cultural elite, usuallyclasses with the somewhat economically elite. That is wehave to get out of that architecture, we have to begin toget to those people who are damaged, destroyed, repres¬sed by the whole system to believe the theater is notfor them, that they are too stupid to go to the theater,that cannot understand it, that it doesn’t say anyhing tothem, that it bores them. Our work is to find them, getto them, play to them, and have meaningful dialoguewith them.The Grey City Journal | 5Julian Beck: One of the problems is that we use tenpercent of the brain and the repressive form of civ¬ilization is such that we inhibit feeling and consequentlysince we do not thoroughly feel, do not really see, hear,smell, taste, we are feeding the brain with incorrectinformation. Now verbalization is the result of thethought process of this computer machine which isloaded with mis-information. Consequently we are sug¬gesting that if we can push towards a more feelingfulhuman being, a more feelingful situation we may comeout with finally a use of language which more closelyrepresents what the human not only really feels but real¬ly thinks. It is simply part of the way, that is, thisparticular stage in the development of theater, this as¬pect of theater, this anti-verbal aspect of theater is notonly represented by the work of the Living Theater butby many theaters in the world today is part of a process,part of a change. We are pushing as much as we canagainst the barriers of repressed feeling in the attemptto find something else.Federico Fellini'sLADOLCEVITASat., Jan. 11, Cobb, 6 & 9:30, $1 (Series Ticket $5) CEF8 Clark\ theatre 8enjoy ourspecial student mrate"7CT at all( V times Ifor college studentspresenting i.d. cards ■at our box office NEWMENUct>e cnetuciGalleiyand CoffeehouseJiiwibunjcr specialtiesa half-pound of groundsirloin served oh black-breadwith chips(all burgers scr\>eci medium-run imtess specified)Ha m b u rger M ed ic i l JO Sweet-Sourburger 140Cheddarburger 1.20 Sa Lid burger 1.505wi>sburger 1.20 Krautbur^er A 50Onionburger 1.30 5o u re rca m b urger I 50O n io n - Gar lie b u rce rO 1.50 Chutnevburgcr 1 50Roque fort burger 1.40 Baconburger 1.50Olive burner i-AO Italian burgher 1 (SOAI ushrocmbuiwrO J.40 Mexico nburger 1.00Barbeque burger 1.40with potato Chili burgersaint :2s extra J.70• different double featuredaily• open 7:30 a.m.— lateshow 3 a.m.• Sunday film guild• every wed. and fri. isladies day—all gals 50clittle gal-lery for galsonly• dark parking—1 doorsouth4 hrs. 95c after 5 p.m.• write for your freemonthly programdark & madison fr 2-2843 Improvisation in Music: East & It estSCHEDULE OF LECTURE-RECITALS & CONCERTST uesday, January 28ML SIC OK THE WEST: Jazz and Contemporary MusicFrank Tirro with Jan Herlinger, flute,and Dean Hey, tromboneSaturday, February 1J AZZ CONCERT The Bunkv Green SextetTuesday, February 11Ml SIC OK THE WEST: From Improvisation to CompositionLeo TreitlerTuesday, February 25Ml SIC OK SOI TH INDIA Harold PowersFriday, March 7CONCEK TOK INDIAN Ml SIC / Lstad Ali Akbar Khan, sarodeTuesday, March 11MUSIC OK IRAN / Ella Zomswith ManoochehrSadeghi, santourLecture-recitals will be held in Breasted Hall at 8:00 P.M.; tuition for the series is $10; single tickets to lectures are$2.00.The concerts on February 1, March 1 and May 10 will be given in Mandel Hall; adm: $2.00, $2.50, $3.00 (50*discount to UC faculty and students.Tickets at Concert Office, 5835 University Ave; or at Downtown College, 65 E. So. Water St.Tuesday, April 1Ml SIC OK THE WEST: Improvisation in the RenaissanceHoward M. Brown with The Collegium MusicumTuesday, April 15Ml SIC OK INDONESIA / Mantle HoodTuesday, May 6Ml sic OK AFRICA / J. H. Kwabena MketiaSaturday, May 10CONCERTOECAMELAN Ml SICThe University of Michigan Gamelan OrchestraTuesday, May 20THEKESTIVALMl SICOKJARAN / ff illiam P. MalmDates and programs are subject to change.W" ™ 11 "W |^ "in” sanity south ^1463 E. Hyde Park Blvd. 5^ Conte see us from ••in” sanity nor..Noon to 10p.m. r —» is. fwiin« EXPERIMENTAL DANCE WORKSHOPwith Maggie Kast, meetsMonday, 1:30 Ida NoyesTheatre. Regular classes beginnext week.HYDE PARK THEATRESTARTS FRIDAY JAN. IOthWINNER10 INTERNATIONALAWARDST\M°ofVS "3RD MONTH!"“A MASTERPIECE.ONE OF THE ALL-TIME GREATS.”— Archer Winiten, N Y Poll“A TRIUMPH AND A THRILLER.Erotic scenes of such outright beauty, such super ■.subtlety. A great film that boasts thrills, chills,beautiful women. An outstanding film for our time!'-Judith Crist, wjteyesfor thenow sound?LIBRARY HELP WANTEDBoth full-time and part-time positions availablefor students and student wives.Telephone 955-4545THE CENTER FOR RESEARCH LIBRARIES5721 Cottage Grove Avenue LUSdm 97.9 fmsmack dab in the middle of your fm dialopWihie’s 3Lwer Sk“FLOWERS FOR ALL OCCASIONS1308 F AST 53rd STREET TAhSAM-Y&NCHINESE-AMERICANRESTAURANTSpecializing inCANTONESE ANDAMERICAN DISHESOPEN DAILYlUCtfTiaI I A.M. TO 9 P.M.SUNDAYS AND HOLIDAYS12 TO 9 P.M.Orders to take out FINANCIAL AIDUndergraduate studentswho wish to apply for fi¬nancial aid for the 1969-70academic year must submitapplication, including Par¬ents Confidential Form, byJanuary 25. Forms may bepicked up now at Office ofAdmissions and Aid, 5737University. Ext. 4592 EST FINIEALAIN RESNAISYVES MONTAND INGRID THULIN ' GENEVIEVE BUJOLDProduced try SOPRACIMA PARIS LUROPA FILM STOCKHOLM A BRANDON FILMS RELLASE2424 N. Lincolnof Fuller ton-Hoistedone block east ofFullerton "El" stopTel.: 528-9126t-REE PARKING2438-40 N. Hoisted STUDENT RATE!Show Times:5:40, 7:50,10P.M. DailyDependable Serviceon your Foreign CarVW’s encouraged now. 2 Factory trained mechanicshave joined us. Quicker service. Open til 8 P.M.Grease &. ni' change done evenings by appt.Hyde Park Auto Service • 7646 S. Stony Island • 734-639JJimmy’s;and the University RoomRESERVED EXCLUSIVELY FORUNIVERSITY CLIENTELEFIFTH-FiFTH Sr WOODLAWN6 The Grey City Journal January 10, 1969f m +-* m If '•*«*-#•»**►*!V . * i • ,» l't iVl '.i;MOVtAntigone Analyzed for Dramatic MeritsBy Tom BuschIF THE FIRST performance of the Living Theatre exhib¬ited a workshop quality, this may reflect the tentative¬ness and incoherence of a positive radical statementfrom any quarter at this time. Mysteries and SmallerPieces attempts a series of brief and largely non-verbalepiphanies. They are marred by fragmentation andthrown off the quick timing the material demands by theneed to communicate new experiences in a setting calci¬fied by conventional cultural responses and inhibitions.Indeed the publicized “audience involvement” consistedof two pieces. A parodic mass slogan-chanting imitatedthe catharsis of demonstrations. Mimetic deaths both onstage and in the auditorium failed, if their intention wasto accuse us for our stolid failure to help the suffering,precisely because we were all too aware of a company ofactors pretending to die. The theater does not work be¬cause we blieve what happens is real; to fall back onColeridge, our suspension of disbelief allows the playersto effect their magic.Although several were amusing, only one scene in theevening emerged as a genuinely moving theatrical ex¬perience. (Another, the second episode after the inter¬mission, in which the players exchanged positions in acircle while performing various vocal and physical signa¬tures, suggested a radical sense of non-verbal comu-nication, perhaps the only one available to the Movementperson who believes that his meaning is distorted by alanguage not his own. After this, the ending, in whichone player exhorted the audience to unscrew their seatsand place them in the files of the university “becauseyour technology is killing our children,” disappointed inits formulaic triteness.)The opening scene however succeeded brilliantly. Afternearly a half hour delay calculated to antagonize theaudience, a single man stood, alone, still and silent,down stage center for about ten minutes. After a minuteor two, in which we assumed he was waiting for oursilence, we became restive. Random laughs and coughssprang up, followed by a growing number of hecklings.After five minutes or so, the strange sensation mani¬fested itself of wondering if everyone else in the theatre,and indeed in one’s life, might not be a “plant”. When atthe end of ten long, hostile minutes, members of thecompany began stomping down the aisles we were im¬mensely grateful. There followed a ballet based on Ken¬neth Brown’s The Brig. The company marched, mimedwork — washing, sweeping, hauling — and chanted poly-phonal phrases from a dollar bill. As the chant built tointensity, the dancers swelled a drill team exercising onthe stage, behind and around the still stationary loneman. At the peak another player entered and barkednonsensical commands; the entire company, save theoriginal player, crisply replied, “Yes sir.” We had beenmade uneasy and hostile by the inviolability of an indi¬vidual. We were then forced to see him as a hero.Antigone, which the press release described as “JudithMalinaz’s translation of Brecht’s version of an adapt¬ation of the Sophocles play,” demonstrated triumphantlythe troupe’s ability in a sustained structure, their versa¬tility, their discipline. The play bears but a skeletal re¬semblance to Sophocles’. Indeed in tone it is more Ro¬man than Greek, as life under an empire differs vastlyfrom that in a polis. While the portrayal of Creon as atotally despicable tyrant of corporate liberalism drainsthe play of tragic impact, it gains an almost melodra¬matic energy from the moral fervor of the isolated andfinalyl vindicated Antigone. Ours is not an age nor anempire which admits of sophisticated tragedy. Corporateliberalism deserves to be represented by no better than abuffoon and a charlatan.Jilian Beck is brillian as Creon. Instead of sustaininga complex psychological realism, Beck changed his tonefrom moment to moment to reflect the many publicfaces of a soulless man. He chanted, pep talked, threat¬ened, whined, hustled and pattered. He pranced, con¬torted and grimaced, casually castrating the Elders ofThebes as he recounted his victory battle. One minute hepeddled snake oil the next he cajoled Antigone as arecalcitrant relative, then he was off addressing theboard of directors. With each change the dramatic ex¬citement shifted, now broad parody, now frightening vio¬lence, now villanous intensity, now off-hand irony that bityou behind your back.As the play gained momentum, Mr. Beck’s virtuousityand the energy of the chorus tended to overshadow Jud¬ith Malina’s Antigone. She too made her character liveby chameleon transformations, part Bronx housewife,part Mae West, part lonely, but largely committed. Be¬cause she reminds more or less in a single, defiant pos¬ture, and because the drama develops between Creonand the chorus, the natural direction of the play tends tomake her recede. The power of the whole play howeverdepended on her able inauguration of the action, sup¬ported by disciplined diction and magnificent physicalcontrol.The energy of the production and ultimately its theatri¬ cal impact came from the superb direction of the chorus.Here we saw the contained turbulence, the impression ofchaos created by strict control, the masterly use ofsound and movement which communicated the ex¬perience of the play. The troupe combined mime, danceand statuesque groupings with vocal music, both harmo¬nic and the natural assonances and dissonances of thehuman voice. The chorus which began “Mankind is amonster” moved the players down the aisles into theauditorium on an antiphonal chant which was hauntingand effective. The prolonged Bacchic dance provided thebackground for the deaths of Antigone and Haemon;while its sensuous movements became more and morehorrifying, because repetition increased their mindlessmechanical quality, Teiresias prophesied Creon’s fall.Creon halts their now grotesque mime only as he con¬fronts his doom. He never understands or accepts hisown evil. Only in his capacity as a player does he regis¬ter any comprehension, when, at the end, the entiretroupe moves down stage, sees the audience and retreatsupstage in horror, until they are literally “up against”the back wall of the stage.Brecht’s adaptation of the play embedded the action innarrative delivered by the players out of character. Thisdevice illustrates Brecht’s own theory of acting, in whichthe actor does not “enter” the character but rather stud¬ies him and presents his actions much as one mightillustrate the behavior of participants in any narrative.As Antigone demonstrated, this method insists to the au¬dience that it is observing a play; it demands that werespond to the action with critical intelligence. In theLiving Theatre production, however, this repeatedchange of distance is combined with the overwhelmingenergy of the choric interludes to produce multiple per¬spectives. At any one moment the eye is jerked fromchorus to protagonists to hellish knots of bodies; fromscene to scene the mind is rushed from intense absorp¬tion to ironic distance. We are and are not involved. Ifthe myth presents a central truth about human ex¬perience, it also demonstrates to us what a great extentour responses to experience are conditioned by just suchcultural patterns. When the guard tells Creon that Poly-neice’s body is covered, “Not a real grave, just somesoft dust as though breaking the law didn’t take much,”we realize the alterability of circumstances; when Anti¬gone replies that she broke the law, “Because it’s humanlaw, and that’s why a human being must break it,” werealize that we are being challenged.As theater, the play succeeds because it recognizesand uses the seeparation of audience and players toachieve a specifically theatrical experience. Only the ac¬knowledgment of this distance can make opposition onthe stage metaphorical; the players’ recognition of them¬selves as actors animates a theatrical experience be¬cause it enables us to sense in the action the dramaticdivorce of the will and the world, the will and the role.Antigone succeeds also where Mysteries and SmallPieces fails because the troupe, the Movement, can actto oppose the system, but just now they cannot act as ifthe system did not exist.The Grey City JournalJanuary 10, 1969 7)hV*s!i*n in3flffii#T•tt ■I"77it Finance at IBMYou’re inan ideal spotto move ahead fast!’An Equal Opportunity Employer“I’ve always figured my chances for ad¬vancement would be better in a growth indus¬try. That’s why I picked IBM,” saysJoe Takacs.Joe’s been working in general accountingsince he got his B.B.A. in June, 1968. He says,‘‘I read in Business Week that the computermarket is now expanding at about twenty per¬cent a year. I wanted to be part of that trend.”Growth wasn’t the only reason Joe pickedIBM. He says, “I learned that it’s generalpractice at IBM to promote from within and topromote on merit alone. I like that. I also likethe fact that in 1967 IBM appointed over 4,000managers. Which means plenty of opportuni¬ties to move up.”The job itself“Another growth factor is the job itself,”Joe says. “During my first few years, I’ll getexperience in a lot of different areas. I’ll belearning how the company is structured andhow it operates on a broad scale. And that’sexactly the kind of knowledge I’ll need tohelp me qualify for a manager’s job.Looking to the future, Joe sees himselfmoving up in general accounting or goinginto an area like financial analysis. He says,“Either way, I’ll have a chance to participatein some pretty important decisions.”Careers in finance at IBM include:Financial Planning and Control, FinancialAnalysis, Accounting, Information Systems,and Internal Auditing. Which one mostinterests you?Visit your placement officeSign up at your place¬ment office for an inter¬view with IBM. Or senda letter or resume toIrv Pfeiffer, IBM,Dept. C, 100 SouthWacker Drive, Chicago,Illinois 60606. ONCAMPUSJAN.22IBMThe Grey City Journali > * i M j 3 s ** n C' f r i r - 4 # ¥ r January II, 1M * / .< j»«t. t