THE N. C. ESSAY
VOLUME V, NO. XVI
NORTH CAROLINA SCHOOL OF THE ARTS
APRIL 26, 1971
“LSD Of Isaac’* Presented
Jamming at the Fiddlers Convention: For a special report, see P. 3
“The Last Sweet Days Of
Isaac,” a rock musical by
Gretchen Cryer and Nancy Ford,
now in its second year off-
Broadway, was presented at the
School of the Arts, April 24 & 25.
The production, under the
direction of William Dreyer, was
staged in the Student Commons
Building, with the audience
seated on the steps and around
the stairwell.
Winner of the “Obie” award for
the best off-Broadway musical in
1970, the play revolves around
two separate and unrelated
moments in the life of Isaac, an
irresponsible intellectual,
seeking his own special brand of
electronic immortality.
In the first moment, Isaac at
age 33, played by William
Dreyer, is trapped in an elevator
during a power failure, with
Ingrid, a timid secretary -
housewife - poet, played by Kathy
Masterson. In the second, Isaac
at age 19, portrayed by Jon
Thompson, is in a jaU cell
following his arrest during a
demonstration. In another cell,
another demonstrator, Alice,
played by Marilyn McIntyre,
The calender for the 1971
Summer School Session at the
North Carolina School of the Arts
has been made available. In
cluded are programs in Dance,
Drama and Music. The School of
Music offers two separate
programs during the Summer
Session.
Registration will be held on
Sunday, June 20 and classes will
commence on Monday, June 21.
The Summer Session for Dance
students will end on Friday, July
23, lasting five weeks. A
Choreographers Workshop will
be held for one week, running
from Sunday, July 25 to Friday,
July 30. The Summer Session will
conclude on July 30.
The School of Dance offers a
five-weeks program for junior
high, high school and college
level students. Some younger
students are accepted, as well as
some on the post-graduate level.
Enrollment is limited to 120
students. Major study courses
offered are Dance Technique
(Ballet and Modern), Character
Classes, and Related Subjects,
wluch include Dance History and
Criticism, Drama, Music Ap
preciation, Dance Composition
and Performance.
The faculty will include Robert
Lindgren, Dean; Sonja T^en,
Joan Sanders, Gina Vidal and
Forella Keane, ballet; Nelle
Fisher and Maria Plevins,
modern; and Gyula Pandi,
character.
The School of Drama will offer
discovers that she and Isaac can
only communicate with each
other and the world through
closed circuit television.
Assisted by the Zeitgeist, a
rock group, Isaac and Ingrid and
Isaac and Alice explore the ab
surdity of human existence in a
world full of images.
Chris Coan was the musical
director and a member of the
vocal trio, which also included
Carol Rogers and Frank Wolff.
Instrumentalists in the Zeitgeist
were Alan Smallwood, piano;
Ernest Banyan, bass; Dan
Brubeck, drums and Tim Sparks,
guitar. Paul Dale designed the
set.
William Dreyer, instructor in
voice in the School of Drama, is a
graduate of DePauw University
where he first worked with
Gretchen Cryer and Nancy Ford,
who were toen fellow-s^dents.
He has appeared in 30 musical
comedies and has directed
operas, plays and musicals,
including the recent NCSA
review for children, “Tales From
The Toybox.” (“Tales From The
Toybox” will be seen locally on
WUNC-TV, Channel 4, on April 29
at 8:30 p.m.).
a concentrated six-week program
for high school students only.
Enrollment is limited to 60
students. Essential courses will
be offered: Basic Acting, Speech,
Singing, Movement, Jazz Dance
and Production Dynamics.
Faculty will include Ronald
Pollock, Dean, Robert Murray,
Mollie Murray, Gyula Pandi and
additional faculty to be an
nounced.
The School of Music will offer:
1. Six weeks of concentrated
study in piano, organ, har-
sichord, flute, oboe, clarinet,
French Horn and bassoon.
2. Two three-week in
strumental music workshops for
rising 7th, 8th, 9th and 10th grade
students.
The six-week session will
feature private lessons, master
claiaes, ensemble work and
recitals. The faculty includes
Clifton Matthews, piano; Philip
Dunigan, flute; Stephen
Adelstein, oboe; Robert Listokin,
clarinet; Mark Popkin, bassoon;
and John S. Mueller, organ and
harpsichord.
All students in the instrumental
music program receive private
lessons on their major in
struments, study music theory
and play in large and small en
sembles. The faculty for these
sessions will be Robert Clark,
director and lower brass;
Chester Litwin, flute and
saxophone; R.O. Klepfer,
clarinet; William Roumillat,
oboe and bassoon; Otis Strother,
upper brass; Harry Snell, per-
Tenure
(The following is an excerpt
from the minutes of the Full
Faculty Meeting of Wednesday,
March 31, 1971).
Mr. Ward then spoke of the
most recent developments in
carrying out the tenure policy
which was established last year.
He first quoted from the
statement in the Faculty Manual
which describes the manner in
which Deans shall make
recommendations to the
President with respect to tenure.
It was clear that members of the
faculty had assumed that these
recommendations were tan
tamount to appointment of
tenure. In fact, many of the
mechanics of implementing the
tenure policy were not suf
ficiently detailed or thought
through last year, and this only
became apparent, when it
became time to draw up con
tracts for this year. As it stands
at present, anyone denied tenure
by the Trustees and the President
was left without any provision for
continued employment by the
School. This whole matter was
discussed in depth at the last
meeting of the Board of Trustees.
There was a wide range of
opinion, both pro and con. Those
arguments in favor of
widespread tenure included (1)
the element of security which is
involved for the faculty member;
(2) the stabilization in personnel
which results for the School; (3)
the protection which tenure can
afford against the changing
political winds which sometimes
dominate the Legislature; (4)
protection against the possibility
of an older faculty member who
has reached a high salary
bracket being let go in order to
reduce the overall faculty
budget. The argument against
widespread tenure were: (1) that
it resulted in a natural tendency
for the faculty member to con
centrate on the inner world of the
School, as opposed to concerning
himself with broader
achievements, if his entire
security is bound up with the
School; (2) the ultimate bur
dening of ^e institution with a
faculty of an older average age in
which great power is con
centrated, thus resulting in the
growth in the generation gap
between faculty and students; (3)
the tendency toward insularity on
the part of colleges and
universities which comes from
the unique security afforded by
tenure; (4) the pressure which is
stimulated to resist change; and
(5) the fact that tenure is in many
respects related to an over
concern with material values.
With respect to the North
Carolina School of the Arts,
certain basic facts were cited
which included : (1) the youth of
the institution; (2) the unique
problems of an experimental
school; (3) the need for continued
flexibility and latitude for
Issue
change, until all areas of general
policy have been more deeply
considered; (4) reflection on the
fact that in many respects our
School’s program is basically
very conservative, at a time
when great changes are taking
place in education; (5) question
concerning the relevance of what
are standard patterns of faculty
employment in colleges and
universities to the North Carolina
School of the Arts’ very different
situation, in which we have a
very simplified ranking of our
faculty, resulting in a very short
pre-tenure service requirement;
and (6) the lack of prior teaching
experience among many
members of our Arte faculties
prior to coming to this School.
The Board, therefore, decided
that this was a moment to
proceed slowly; to limit the
grante of tenure, but to provide
for the continuance of members
of the faculty. They, therefore,
instructed the President as
Follows:
“The Board instructs the
President, in the exercise of his
discretion and judgement, to
grant tenure in this particular
year only in those cases which
will be beneficial to the School to
an absolute certainty; and that in
all other cases employment of
faculty be continued, if con
tinued, on a one year, tlu’ee year,
or five year contractual basis.”
The Board further requested
that the teaching faculty appoint
a committee of ite members to
meet with members of the Board
and administration to work
toward a more detailed for
mulation of tenure policy.
In making the decisions with
respect to tenure the following
requiremente were established;
(1) That the faculty member has
achieved high distinction in his
chosen field and, where relevant,
this should extend beyond the
school community;
(2) That he shall have an out
standing record as a teacher, as a
participant in the affairs (rf the
School, and as a colleague to
other members of the faculty;
(3) That he has given evidence of
a full understanding of the North
Carolina School of the Arte’
specific and general purposes
and of his personal role in the
general structure of the School;
(4) That he has shown maturity
in his judgement and actions;
(5) That he has given evidence of
having actively and thoughtfully
promoted the best intereste of
NCSA, not only in the conununity
but in the nation and foreign
countries;
(6) That he holds a position which
is a basic one that has been fir
mly established;
(7) Finally, that the granting of
tenure should be the ultimate
honor which the institution can
confer on the faculty member.
As a corollary to this tenure
Continued on Page 4
Siiva Recital
Jesus Silva, classical guitarist,
was presented in recital by the
School of Music on Friday, April
23 in the Main Auditorium.
Included in the program were
Tiento and Romance by Miguel
de Fuenllana, Pavana and
Fantasy by Luys Milan, Minuet
by J.P. Rameau, Suite in D minor
by Robert de Visee, two Etudes
by Fernando Sor, two Catalonian
songs by Llobet-Ponce and three
Preludes and an Etude by Heitor
Villa-Lobos.
In addition, Silva played three
Mexican songs by his former
professor, Manuel M. Ponce and
three of his own Preludes.
Silva, a concert pianist and
recording artist, has taught at the
School of the Arte since ite in
ception in 1%5. He is a graduate
of the National Conservatory of
Music at Mexico City and a
protege of Andres Segovia, who
recently visited the School. He
was director of the Evening
Music School of the National
Institute of Fine Arte in Mexico
City.
Before coming to NCSA, Silva
was a professor at the National
Conservatory in Mexico City and
at the Brookl^ Music School.
This year he will be a member of
the faculty of the School’s
summer session in Siena, Italy.
Chorus
Celebrates
Life
Music in celebration of life will
be featured in the spring choral
concert of the School of Music of
the North Carolina School of the
Arte, to be held in the Main
Auditorium on April 30 at 8:15
p.m. The program, under the
direction of David Partington and
accompanied by Margo Garrett,
will include excerpte from Carl
Orff’s “Carmina Burana,”
Benjamin Britten’s Cantata
“Rejoice in the l^mb” and two of
the Coronation Anthems by
George Frederick Handel.
The “Carmina Burana” is a
setting of poems written in the
thirteenth century by wandering
scholars and vagrant monks in
celebration of the delighte of bed
and board. Because the authors
were still Christian believers, the
rather earthy poems were hidden
and were not discovered and
published until about five cen
turies later. Orffs ensemble,
composed in 1937, is percussive
and immediate in ite impact; it
has been called physical music.
The soloists for “Carmina
Burana” are Lunda Austin,
Dianne Carriker and Stephen
Woodbury. The excerpte will be
accompanied by two pianiste,
Miss Garrett and Alan Zingale,
and a percussion ensembel, in
cluding Todd Manley, Jerry
Soloman, Tommy Williams,
Eugene Williams, Randy Powell
and Jack Miller.
The Coronation Anthems, four
in number, were written by
Handel for the Coronation of King
George II and Queen Caroline in
1727. They were so successful
that at least one of them has
performed at every British
Coronation since. Although
Biblical in origin, the tex’. used
by Handel were part of the
liturgy for the coronation rite.
The NCSA Chorus will perform
numbers one and four, “Zadok
the Priest” and “Let Thy Hand
Be Strengthened.”
Continued On Page 2
Summer School Set
The following Major Motion
was accepted by the SCA on
Wednesday, April 21:
It is recommended that the
council move to vote that The
N.C. Essay editor be selected
by the previous editor, staff,
advisor and members of the
Student Council rather than by
general election. The basic
reason for this is that these
people know who is best
qualified for the position. The
basis for selection should be
knowledge of newspaper
work, previous participation
on the Essay staff and the
candidate’s expression of
willin^ess to work in stated
capacity. The candidate
should still, prior to his
nomination, submit a written
cussion.
summary of previous ex
perience and his concept of
what a newspaper,
specifically The N.C. Essay,
is. Any student from any
department in the School may
submit his or her name as a
candidate. This is proposed so
that popularity conteste may
be avoided and so that the
criterion for selection be
actual ability and merit. The
N.C. Essay editor should
retain his position on the SCA
as a voting member, having
been selected by his student
representsitive peers.
The motion was proposed by
Michael Ferguson, current
editor of the Essay. It was
passed unanimously by the
SCA.