North Carolina Newspapers

    Homecoming Weekend Continued:
North Carolina School of the Arts
Page S
“A Lot Of The Guys Fell Down But None Were Seriously Hurt
Continued From Page 1
terback Andy Wood, captain
Vince Barbee, John John Vernon,
Oiris Bridges, Andy Walker, Ivy
Whisnet, Terry Osborn, Sun
dance, Sebastian de Grazia,
Steve Roscoe, and Bob Tom
pkins. Along about two, the Wake
Forest Badasses showed up and
the opening activites began. The
Badass were Malcolm Camp
bell, captain Andy Ralston, Burl
McCuiston, Jim Turner, Rick
Miller, Don Joyner, Costi Kuttch,
Doug Prather, Steve Hawthorne,
Rick Burton and Jim Weaver.
Chris ^own sang a rousing
chorus of the “Stiv l^umgled
Banner" as the technical
assistants hoisted up the flag and
scotch-taped it to a light pole.
Referees Sam Stone and Don
Martin called the teams together
for the toss of the coin. NCSA won
and elected to receive. The game
got underway and early in the
first quarter the NCSA Chicken
Friers took a two point lead on a
safety against Wake. The crowd
went crazy and {Resident Robert
Ward came over to the
microphone to announce the
possibility of a football
sdiolarship for NCSA next year.
His gesture was rewarded by his
appointment as Marshall for the
half time activities. Com-
Travel Note:
Rondanini Pieta
Editor’s Note:
The following article was sent to the N.C. Essay by “the senior
member of the Piano Department at NCSA,” Mr. Irwin Freundllch. In
sending the article, he added: “I was struck with the hl^ quality of
the first Issue of the N.C. Essay. Congratulations to all Involved. It is
another ornament to our school.”
The summit of our visit to the Gastello Sforzesco (and
the summit of our visit to Milano) was the last work of
Michelangelo, the great and touching Rondanini Pieta.
It sits alone in Stanza XV of the Gallery, shielded by a
surrounding shell, mounted on an ancient Roman
pedestal, a ruin that fits to perfection the unfinished
sculpture. It can be enjoyed and absorbed by itself,
without the distraction of surrounding objects. We sat
and watched, circled it, tried to seize what we could of
its mtense, communicative nature. The unfinished
quality of the piece (he worked on it until four days
before his death) lends a special radiance to the work,
suffusing it with a melancholy cast that would have been
altered and lost in more finished form. The heads of
mother and son peer dimly from the stone as though
trying to emerge and more clearly communicate the
deep compassion pervading the entire marble. It is
closer to the Pieta in Florence, much removed from the
early Pieta in St. Peter’s (in which the mother views
with almost calm objectivity the inert son lying across
her knees). Here, in the Rondanini Pieta, Michelangelo
apparently changed his mind in midstream, for an
isolated arm, product of an earlier conception, hangs
apart froni the body of the sculpture, much at variance
with the final decision to bring the mother into close,
enfolding contact with the agonized son. We were, it
goes without saying, deeply moved. When we left, I
found words coming to my mind and lips, and from
Milano to the next few days in Paris to the final days on
board ship, this is what came out.
Four hundred years the anguished stone stood raw
And rough, upon the dim, emerging heads.
The chisel’s naked edge remained,
The sharp, quick strokes that chipped the marble’s
And birthed the vision lying deep therein.
One arm hangs free, mute witness to the changing
That brought the mother closer to her riven son,
And from the single, curving line
That mounts the sagging limbs in unity enclosed,
A simpler, nobler song arose.
Pieta! The roughness adds a lustre to the stone.
The incompleted act, raging in the ferment
Of that aged, restless mind.
Left veiled, poignant tones,
A melancholy cast, quite unforseen
In the earlier visions of his dream.
, '-s. r »‘.;v ' '
mentators Duke Emsburger and
Jon Thompson, along with for
mer pro John Woodson, kept a
running commentary throu^^ the
game. Water boy Andy Acres was
called out onto the field, but he
was too drunk to play and had to
be sent to the showers. By the end
of the first half Wake Forest had
scored a goal and a safety against
NCSA, forcing the score up to
Wake Forest Badasses 8, NCSA
Chicken Friers 2. Then halftime
The parade was a sight to
behold. It was led by the drum
majors, Susie McCarter and
Lany White. Right behind them
came the marshi^ of the parade.
President Ward and his wife, in a
chauffeur driven convertible, and
then the “Marching One Hundred
V V.
and One” and the cheerleaders.
The band moved into their
precision drill, forming such
maneuvers as two stars of the
drops of water from the
playing a musical tribute to Leo
nard Bernstein, Aaron Copland
and George Gershwin. Also, the
Andrew ^ters sang their million
seller hit “Don’t fflt Under the
Apple Tree” and delivered a kiss
to President Ward on behalf of
the Phelta Beta Tlii sorority,
(whose members are Pat
Zoilkowski, Souix daughter, and
Denise Myers).
\^th the tooting of the whistle,
it was time for the second half to
begin. Slowly the afternoon grew
tense as the ball passed back and
forth between the two teams like
a hot potato. A lot of the guys fell
down but none were seriously
hurt. When the smoke cleared at
the final siren, the NCSA Chicken
Friers had scored another safety
against the Badasses and the
final score stood at 8 to 4 in favor
of Wake Forest.
In the excitement following
the game, referee Sam Stone
swallowed his whistle and had to
be removed from the field by
stretcher bearers Dan’l Leibman
and Julian Eubanks. So that was
Homecoming week, the most
exciting and important social
affair in the life of any school was
over after a thrilling parade of
-Jon Thompson
A Novice’s Salute To Dancers
Since arriving at NCSA, my
admiration for a dancer’s ability
and talent has developed into
complete respect and absolute
awe. How someone can achieve
such impossible tasks is beyond
my comprehension.
Basic technique to this novice
somewhat resembles a con
tortionist’s act. The most ele
mentary of the positions seems
impossible. First position (an
appropriate choice of words)
requires the thighs, knees,
calves, ankles, feet and toes,
usually facing north-south, to
turn out (another apt (du-ase) and
face east-west. Second position is
somewhat similar but &e aching
feet are placed farther apart.
Third and fourth positions have
alluded me, but I remember
them in part as equally im
possible as the others. Fifth
position, my favorite, requires
that one foot be facing east while
the west foot is a close fitting
parallel, or something like that.
This process can be reversed for
those so masochistically inclined.
I have not been introduced to the
sixth position but suspect it
requires a complete reversal of
legs into a south-north direction.
And while the feet are at
tempting these positions (and all
other lower parts watching
closely), the arms are
attempting contortions of their
own. Hie arms should be raised
to shoulder level with elbows
rounded due south and palms
slightly north-west bound. Rigor
mortis is helpful in maintaining
the arm position.
My imagination of the more
advanced methods of flesh,
muscle and bone bending only
increases my admiration of
dancers. Wth chin high, chest
forward, elbows rounded,
stomach in, feet out, butt tucked,
knees lifted and sanity gone, I
salute them as giantij among
mere mortals.
-Bev Petty

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