Volume XLI Salem College, Winston-Salem, N. C., Friday, November 18, 1960 Number ANNOUNCEMENT Students are reminded that they must sign-out for the Thanksgiving holidays by Tues day, November 22. They may also sign-out on Monday, Nov. 21. Office hours must be com plied to both days. Students must have permission from their parents if they are going any where but directly home. Students will be dismissed on Wednesday, November 23. Dorms will be open again at noon on Sun., Nov. 27. The col lege will serve supper Sunday night and girls must sign up if they will be here for that meal. The sheet will be posted on the bulletin board in the Refectory. Students Make Nominations For May Court May Court nominees have been chosen by popular vote of the student body. The top twelve in the sophomore, junior, and senior classes, and the top fourteen in the freshman class will be presented in chapel on Tuesday, November 30. Eepresenta- tives from each class will then be voted upon. The following are the nominees: Dot Frick, Harriet Tomlinson and Clarissa Joyce plan for May Day. Pierrette Cast Portray Fullest Meaning Of "No Exit” Through Dynamic Acting By Susan Hughes On opening night, the Pierrette production of Jean-Paul Sartre’s No Exit,, drew a full house and four curtain calls, here at Salem, Aside from those drawn by the sensa tional side of the drama—the un faithful wife and child-killer, the sexually abnormal woman, and the coward and unfaithful husband - and those who came out of curiou- sity or school spirit, the audience seemed to appreciate the dramatic impact of this one act drama. Any doubts as to the wisdom of choosing this play to be presented at Salem vanished as the play pro gressed. The audience was caught in the tension created by the char acters on the stage. Although the first forty-five minutes of the play was rather stiff, the characters be got to get out.” The feeling that here was a woman who couldn’t face what she really was, what she had done, and that she was dead, was portrayed in such a way that one felt the actress knew the mind of her character. Slowly and subtly it became ap parent that Garcin’s cruelty to his wife was not his only sin. The character of Garcin, as developed by Johnny Smith, was as this re viewer had imagined him while I reading the play earlier—The male who had aways tried to prove that he was a man, a hero, but who, in reality was only a coward—the shell had a “thousand weaknesses.” The rhythm of the play was dy namic. First a scene with two characters, then one, then three . . . then as two of the three main characters talked, the other’s back would be turned or face hidden. The scene of partial silence when Colquitt rustled and Shannon hum med was especially effective. Along with the rhythm, there was a defi nite change of moods—The wonder ing “why?”, the frustration, the agony of confession, a little hope, a touch of hysteria, and then . resignation . . . The emotional tension and mood of mental agony were sustained so well that the audience, knowing that it really wasn’t funny, laughed. Perhaps it is a sign that we can laugh at the ridiculousness of our own situation . . . for as the pro gram suggested perhaps, if the exis tence of hell is established, does that not presuppose that existence of a heaven ? Ann B. Austin Cathy Chalk Candy Chew Ann Dudley Diane Puller Em Howell Sandra Lundin Gay Austin Lynn Boyette Catherine Eller Beth Pordham Anita Hatcher Clarrissa Joyce Winnie Bath Dot Grayson Alice Huss Ann Jewell Caroline McClain Pinky Saunders Sally Beverly Barbara Edwards Elaine Palls Marjorie Foyles Sally Gillespie Jean Mauldin Freshman Annetta Jeanette Helen Miller Susan Purdie Ann Simons Tillie Strickland Sara Switzer Pam Truette Sophomores Kenny McArver Martha Jo Phifer Marsha Ray Martha Tallman Gayle Venters Joy Wolhbruck Juniors Meggi Schuetz Anges Smith Nina Ann Stokes Prances Taylor Anna Transou Craig White Seniors Carolyn McCloud Ann Neely Jane Pendleton Mary Prevette Harriet Tomlinson Sally Wood i ■i come more easy in their parts as the play progressed and audience participation in their “hell” was heightened. The attitude of the Maid, played by Liz Wilson, served as a con trast. As Garcin noticed, her eye-; lids never moved, and she spoke j only when it was necessary, and then in a dull monotone. Liz’s im-1 mobility conveyed the horror of ‘ what hell is, even before the play had really gained momentum. The characters in hell for their infidelities and sins carried the play. Sartre’s play can not stand alone on the stage as it can in reading. The actors must support it. Shan non Smith, as Inez made us see land feel what she really was—a Lesbian — before she ever came right out and told us. Her rush to introduce herself to Estelle and the subtle clasping of her hand, the scene where she begged to be come Estelle’s mirror, and her jealousy from the very beginning of the man, Garcin, created a por trait. Estelle seemed to realize some thing of Inez’s nature when she said, “You’re a little terrifying . . .” Colquitt Meacham portrayed the perfect “high-born” woman, who has been pampered and loved and spoiled to the point that she couldn’t bear to see a man suffer ing from the heat take off his coat. She had always enjoyed the attentions of men, had thought very little about anything, and had in sisted that she couldn’t imagine why she was in hell. When Inez and Garcin turned on her after their confessions, Colquitt showed her ability to understand the feelings of a character. The tension that the cast had created seemed to burst as she jumped up and screamed “I’ve Candle Tea Brings First Hint Of Christmas Dear Freshmen; You are cordially invited to come to the Brothers’ House on Wednesday, November 30, between three-thirty and five-thirty as the guests of the Salem College Alumnae Association at a preview of the Candle Tea. We hope that every one of you will come across the Square— just as you are after class or lab—to have your first introduc tion to a Moravian Christmas Putz, to see the beeswax Christ mas candles made and trimmed, and to catch the real spirit of Christmas at the beginning of the Advent season. Sincerely, Katherine R. Spaugh, Chairman Student-Alumnae Relations Committee Salem College Alumnae Association Perhaps you have wondered, sometimes, who they were —■ these quiet women in the long grey dresses that seemed to brush the present aside as they walked past you. If you have been conscious, as you hurry to classes, or walk past the museum to the Dairy Barn, of a history and a past somehow still tangible, not forgotten, you are invited to share with that past its celebration of a birthday. On Wednesday, November 30th, from 7:00 p.m. to 9 ;00 p.m. and Thursday, December 1, through Saturday, December 3rd, from 2:00 to 9:00 p.m,, the Moravian Candle Tea will bring you the first hint of Christmas. General admission for students is SOc, for children, 25c and the money will be used to carry on the work of the Home Moravian Women’s Fellowship. You will be welcomed at the door of the Brothers’ House (just across the street from the Dairy Barn) by a hostess in early Moravian dress, drawing you gently back into that past on which our present is built. You go down into the basement. There is an old-fashioned flavor in the air, enticing smells of rich bees wax and steaming coffee and, sugar cake. In the old kitchen you sit around the big iron pots of coffee, and if you have not yet been to a Moravian Lovefeast you share in something of its spirit as the host esses serve you. You remember it is a birthday feast, in the warmth of the fire, and the hot coffee, and the strangers sitting around you. You watch the beeswax poured into the candle moulds, and the candle makers adding red crepe ruffles to the finished candles, which are going to be used for the Candle Love Feast in Home Mora vian Church on Christmas Eve. It is cold in the sub-basement. Here the Putz holds the past for you—the past of a Bethlehem wait ing under a star, and the past of Salem as it was in the 1800’s. The word ‘putz’ comes from the German ‘putzen’—‘to decorate.’ For the early Moravians in Germany Christmas was hardly Christmas without a putz at the bottom of the Christ mas tree, with its tiny figures often hand carved by members of the family. There were always the wise men, and the shepherds, and a man ger, and a star; but there could be other figures as well: figures of German girls and boys in modern costume sharing the awed expecta tion of the angels and the shep herds. So, now, just a few yards from the Nativity Scene, you find the model of Old Salem, with its tiny, old-f a s h i o n e d fig;ures, and the clotheslines hung with miniature garments, and Home Church and Main Hall greeting you with an old recognition. There is a light powdering of snow on the buildings and ground, marked with footprints and wheel tracks, and the air is cold enough for snow; your breath mists in front of you. But the coldness of the heavy stone basement is friendly. You are aware, not only of Salem as it used to be, but of the hours of work which have become a part of the accurately scaled models, the craftsmanship and love of fine work which is also a heritage of the Mo ravian past. And as the past of Salem assumes a greater depth of meaning for both past and present, the manger beneath the Moravian star, as you leave, bears silent wit ness to a greater reality. Artist Coble Displays Reality By Few Shapes The paintings in the stairwell of Main Hall and in the Music Build ing have undoubtedly attracted the attention of most passers-by. At first glance, one is apt to feel that he could do comparable or even better work. These blobs of color on canvas are more than just blobs, however. Perhaps you noticed the young, handsome bearded man seated on the left side of the auditorium at Ferlingetti’s lecture Tuesday night. This man was Gerald Coble, the hrtist of the art display. Mr. Coble’s work is recent. He lives in It cabin in Greensboro, and here he starts painting after he turns on Bach records as loud as they can be played. He paints under the influence of Bach and his environ ment. Bach has many variations in a simple tune, and likewise Coble has unlimited variations in a limited range of art work. In this respect he is a classicist. Coble has won several awards for his work; and one is from the Winston-Salem Gallery.