North Carolina Newspapers

    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.
    

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