Newspapers / St. Andrews University Student … / Feb. 15, 1968, edition 1 / Page 2
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PAGE TWO THE LANCE THURSDAY, FEB. 15, iggJ THE LANCE St. Andrews Presbyterian College Laurinburg, N. C. 28352 Staff EDITOR Kci Butterworth ASSOCIATE EDITOR Linda Susong ASSOCIATE EDITOR Margaret Parrish SPORTS EDITOR Joseph V. Junod BUSINESS MANAGER Pat Cooney ASSISTANT BUSINESS MANAGER Jim Neal Supscription Rates $1.50 per semester Advertising Rates $ .80 per column inch ID CARDS Senate: Instigator of Present System Student Awarness Needed It is imperative that students realize the impact of the present Senate Welfare Committee drinking bill on the entire campus community. The mere fact that President Ansley Moore has re ferred the bill without veto to a student-faculty committee is evidence that administration does indeed seek to employ student oriented ideals into the overall machinery that keeps St. Andrews progressively moving forward. The fact that he has referred the bill to a student-faculty committee as well as directly to the board of trustees indicates that he feels a need not just for student motivate^ ideals, but also for the principles of the entire populus involved with our academic, social, and mental environment. The fact that he expects a statement directed towards these ideals and goals from the Student Life Committee concerning the drinking issue does in no way reflect the ultimate decision to be made by administration and trustees. Hence we may resolve that the final judgement concerning open drinking in the dorms made by the SLC may or may not be of significance in the outcome of the legislation. The significance of their action may only be determined by student reaction and the degree of their acceptance in terms of responsibility. Should the SLC recommend vetoing the bill, the responsible student .should question the reasons why, but should more im portantly accept the present rules and attempt an alternative. Should the SLC recommend acceptance of the bill, the students should prepare for the responsibilities that they are to receive. The acceptance of this bill would mean absolutely no noncon formity nor irresponsibility. Should the SLC recommend tabling of the bill until certain complications are ironed out, students endorsing the bill should work wholeheartedly towards creating a more suitable framework for on-campus drinking. Thus it is imperative that students accept the final decision on the drinking issue, and work responsibly tow'ard creating a more effective government through honorable enforcement. Would you Believe it?--the St. Andrews Student Senate was the instigator of the present ID cards was considered in the Fall of 1966. Art Croswell, 1967 graduate, was assigned the task of working out an ID card system with the Office of Stu dent Affairs. Numerous reasons were given as to why ID cards were valuable; 1. A positive means of identi fication when doing business in the Laurinburg community. 2. Library privileges at other colleges and universities are usually granted to bona fide currently enrolled students in area colleges. 3, ID cards would faciliate the problem of student identi fication when certain social events took place on campus. 4. Numerous other minor Items—the securing of reduced fare on airlines, student rates at hotels, etc. The present concern about ID cards stems from the initial situation which was created with the opening of the new Physical Education Building. In an effort to control equipment which stu dents may use, the ID card 9. ''^O Tlf^EP IN ClAee TC?(7AY, I FELL A6UE6R" was required as a deposit, ii soon became abundantly clear -that inasmuch as the PE de. ■ partment was partically the only user of the ID cards it was possible for a student to check out a valuable piece of equip, ment, leave his ID card, and keep the equipment for several days because the ID card was not required in other areas of the college. Still another problem has been the increasing number of bad checks and some problems involved in tracking down people who have passed bad checks in an effort to correct the situa tion. Yet another problem deals with the sizeable loss of books from the Library—persons who sign out books using fictitious names with no intention of re turning the books. This crip ples the efforts of the Library staff to increase the quality of | the book holdings, inasmuch as a disproportionate amount of ‘ the Library budget is spent for replacements. Therefore, the Adminis tration has instigated a policy | which would require students to present their ID cards for the use of the Library and check | cashing. Because the ID cards are in constant use, the prob lems in the PE Department] have been iliminated. The pre sent system is on a trial basis I for the first half of the cur rent semester and obviously there are still some bugs to be ironed out. The failure of the I Perf-O-Dent Company to supply cards after photographs were taken and also the necessity to validate cards from first I semester to second semester are responsible for some of j the present difficulties in the system. " Dudley^s Stargazer: ‘^Accelerendo Con Moto Just before I viewed Peter Weiss’s “Marat/Sade’' re cently, I was burdened by the opinions of others who had either seen the film previously or spoken to someone who had. I half expected to see a dis turbingly and pointlessly grue some semi-horror movie that would send me in fits of dis gust or anger to rap out a somew'hat uncomplimentary re view. But instead I was pleasantly-- to employ the term loosely-- surprised by the show. The cameras have managed to cap ture every drop of the haunt ing and heavy emotion that was contained in the original stage version; the cinematic event re sulting is one of the most in tense and penetrating spec tacles to be released recently. Originally written in German for the European stage by Mr. Weiss, ‘‘The Persecution and Assassination of Jean-Paul Marat as Performed by the In mates of the Asylum at Charen- ton Under the Direction of the Marquis de Sade" (if I might apply the drama’s unabridged title once) was translated into the English tongue by Goeffrey Skelton and Adrian Mitchell to be performed in London and subsequently was brought to New York in 1965 by David Merrick. The Royal Shakespeare Com pany of Great Britain filled out the cast in both cities, and it may now be seen again in the motion picture, which is in fact simply a filming of a stage production. The direction is by Peter Brook, and his unique methods of staging are as ap plicable -- nay, definitely more so -- to the screen as they are to the proscenium arena. The camerawork in “Marat/ Sade” is very much an achieve ment worthy of praise, though it will admittedly make one’s mind reel long before the pic ture stops -- and I say that the show stops since in a .very literal sense it never actually concludes or ends in a con ventional way; it simply stops- in the midst of a peak of com motion and discordant insanity. The idea of filming the play in performance is a good one, for it adds to the feeling that we are actually seeing one of de Sade’s productions being presented. A note on the historical ac curacy is appropriate at this point. The Marquis de Sade was committed to the Asylum at Charenton in 1801, where he spent his fourteen years of con finement writing plays and pro ducing them with the inmates forming the casts. This parti cular piece is the offspring of Weiss’s imagination, though it' runs a close resemblance to the type of performances which de Sade was responsible for stag ing. At the time it was con sidered a rare privilege to at tend one of these shows. The assassination itself is part of French Revolution his tory, and is reenacted to a reasonable degree of honesty; Weiss explains in an intro duction to the printed copy of his work that although he has taken several liberties with the minor characters, the two prin cipals, Marat and his assassin, Charlotte Corday, are true re plicas of their counterparts in history. The acting in this play- within-a-play is naught but phe- nominal: the actors are re quired to portray the insane persons who attempt to act the roles in de Sade’s pageant, and they do stunningly well. Ian Richardson is one of the most outstanding as he brings to life the inmate cast as Jean- Paul Marat; he plays a para noid, who, of course, is es pecially anguished and forceful in the part. Patrick Magee, as the self-worshipping director, the Marquis de Sade, is also perfect in his delivery of some of the drama's most beautiful speech. The Herald, the sanest of the bunch, narrates the perfor mance in a style that is a most impressive credit to the actor of the role, Michael Wil liams. And the attractive Glenda Jackson is Charlotte Corday’s impersonator, a seemingly in telligent girl given to fits of melancholia and acute frus tration when her memory loses a line. Utilizing an unusual blend of monologue, song and verse, Weiss has demonstrated both high imagination and underlying intelligence in the deeply mean ingful recounting of a dramatic moment from the past. “Marat/Sade” is primarily an investigation of two con flicting extremes in human character, the spirit of social revolution (Marat) and acute individualism bordering on faithful nonconformity (Sade). The Marquis carries on his campaign against accepted norms to fulfill his need to experience fUll confidence in himself, and has little regard for the welfare or opinion of the rest of the world. On the other hand Marat is interested in political change for the common good, largely without concern for self. A goodly portion of dramatic intrigue results from the direction of the humani tarian by the egoist. A certain impact has resulted from the very placement of the plot within an asylum; the basic electric intensity of the setting and the sound, explosive, throb bing, thick and incessant, com bine to build the film’s force ful styling. The experience of watching this phenomenon is total thea ter in the truest sense; and in spite of short stretches of tedium about halfway through, the full effect derived from this -'tour de force’ roughly ap proximates the feeling of being on the level of a cigarette of sorts, scorched, spent, trodden upon and suddenly abandoned. "Marat/Sade” is not a pic ture that will easily entertain most audiences, but it is here by guaranteed to be a film that no viewer -- regardless of how he receives it -- will ever for get. It has, to be sure, my vote as the fullest and most artistic dramatic production of the last twelve months. ONE HOUR MARTINIZING The Most In Dry Cleaning And Laundry Service
St. Andrews University Student Newspaper
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Feb. 15, 1968, edition 1
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