December 8, 1969
The N. C. Essay
Page 2
AS WE SEE IT
(Part II of an editorial in two parts)
Exactly what do we try to in
clude in the ESSAY? Our coverage is
broad and flexible and we feel that
this is justifiable for three reasons:
1) a large number of our readers
actually do not read any other news
paper regularly; 2) the wide range of
interests among our diversified read
ers includes students, parents, fac
ulty, staff, and the Board of Trus
tees; 3) flexibility gives 3 person
ality to our paper and is a reflec
tion of many other aspects of our
school.
Our policy is to present in
depth news pertinent to campus life.
This includes any national or inter
national news which is specifically
concerned with problems or issues at
the school. Many times we reprint
letters to the Winston-Salem Journal
& Sentinel which are directed towards
the school in order that we might be
aware of reactions and opinions of
the local citizens.
We invite reviews from students
and faculty members and will print
them as guest reviews. We feel that
the students here are as qualified as
the majority of reviewers on the
staffs of community newspapers and
constructively criticize performances
at the school. In striving for qual
ity in the paper, our staff will
approve all reviews before publication.
The same principles apply to any Guest
Editorials which we might receive.
ifVOv)
\\v^ \o\ \^yvio
W.\TO lVt\^
v^\.u
O’FIAE
Our policy is to include as much
feature material as space permits.
We encourage movie reviews and record
reviews by both faculty and students.
The ESSAY aims to serve as a
two-way street of communication; this
requires a cooperation for both lanes
of traffic. We encourage more views
from the faculty and encourage stu
dents to continue to contribute let
ters to the editor. We feel that
this is an indication that students
do take an interest in the issues at
school and that it is a constructive
outlet for them to voice their
opinion.
(iUI-ST
RliVli:W
PeteP,
Ferenc Molnar's LiZiom suffers
drastically from a fourth grade
attempt at translation. The lines
are often so bad that they hurt the ,
actors more to speak them than it
hurts the audience to listen to them.
Very little attempt has been made to
make the idiom American or even
English. The translator Sometimes
translates the literal meaning of
the line without any regard for the
subtextual value of the words;
soipetimes he translates the subtext
so directly that the words beat us
into a cringing submission. In scene
two, in,jwhich Marie,^tries to explain
to Julie the wonders of love, of per
fect love, of ideal love, the only
way the lines can be delivered is as
if they were tremendously funny. The
scene is wonderfully amusing to be
sure, but it does seem likely that
the playwright intended something
far more serious. Either he or the
translator failed; the scene, except
as saved by Mr. Murray and Joyce
Reehling, is a disaster area. Along
with the translator's sins, either the
plajwright or the difference between
American and Hungarian societies
delivers us to a possible dreadful
evening in the theatre. Liliom is
castigated by his society and even
by the police court in heaven for
having beaten his wife. Even Julie ^
knows that the beating was a manifes
tation of Liliom's love. But the
police court, and the people, and,
oddly, Liliom, in his death speech
insist that we (and Julie) don’t
understand. We search in vain for a
deeper value in the play; sentimen
tality reigns, however, and the moral
derived from sentimentality cannot
tell us much about our lives or the
lives of the play's people.
The point, then, becomes one
of salvation from the inadequacies
of the script. This salvation has
THG UI€IU FROm- ,
H 6RG ^Ferguson
"We are all outlaws in the eyes of
America" - Jefferson Airplane/Volunteers
One of the main concerns of
young people is this war which drags on,
the absurdity of the draft system (past
and present), and the general situation in
this country today. A lot of people rap
and bitch about the things that are
bringing them down. But very few, fright
fully few, are willing to go beyond talk
(except the likes of Mark Rudd and
his Weathermen, but I don't know that
they are where it's at either). The
real curse in this country .today and at
the North Carolina School of the Arts is
that we self-professed liberals sit
around a talk a great game. Maybe we're
the real pigs.
In the past I've been critical of
the Moratorium, not in concept, but in
terms of practice. I wrote earlier that
half-baked occupations a few days each
month doesn't mean very much. That's
still true, but things have been happening,
surprisingly right here in Winston,
which indicate that some people are
interested in making their involvement a
more serious one.
Last Wednesday afternoon the first
meeting of the N.C.S.A. Mobilization
Committee was held. About twenty-odd
students met to talk about what could
be done in relation to a peace movement at
the school. The meeting was informal,
the purpose vague, the statements general.
But it was a very important start. It
was encouraging to see twenty people
there.
Where the hell were you!?
Sure, we have classes, we have
productions coming up, we have this, we
have that. There are other imperatives
that must be considered. But it's
disheartening at a school like this,
where allegedly intfelligent, sensitive,
creative people
(Cont. on page 4)
been carried out with great finesse and
verve by Mr. Murray and his young actors.
I watched the energetic carnival prologue
with great skepticism, thinking that as
soon as that interesting, musical, circus
ended, the play would plunge into a pa
thetic piece of nonsense. But the
energy of the actors never failed and the
inventiveness of the director carried
the actors' reading of the play through
its weakest moments admirably. Jeff
Haynes' Liliom blusters through the worst
lines in memory with a sweetness and
arrogance that never once admits that no
major character could be so badly written.
I had thought that no inner life was
possible in Molnar's creation, but Mr.
Haynes brings a strength to the part
that carries the play to a level of under
standing and possibility.
(Cpnt.' on page 5)