Friday, October 15, 1971
Prancious Truffaut Film Festival
V/ednesday, Oct. 27th THE 400 BLOWS — 1959 — FRANCE
_ 11 I I • t m
THE SALEMITE
Page Three
Po/n In The FAC?
P.M.
Thursday, Oct. 28
8 P.M.
Friday, Oct. 29th
8 P.M.
Saturday, Oct. 30th
8 P.M.
Sunday, Oct. 31st
8 P.M.
Monday, Nov. 1st
8 P.M.
Tuesday, Nov. 2nd
8 P.M. ,
With
Jean-Pierre Leaud and Patrick Auffay.
Scope. Plus: BUCK ROGERS, Chapter 7.
JULES AND JIM - 1961 - FRANCE With
Jeanne Moreau, Oskar Werner, and Henri
Serre. Scope.
FAHRENHEIT 451 - 1966 - GREAT BRITAIN
With Julie Christie and Oskar Werner.
Color.
THE BRIDGE WORE BLACK-1968-FRANCE
With Jeanne Moreau and Jean Claude
Brialy. Color.
STOLEN KISSES - 1969 - FRANCE With
Jean-Pierre Leaud and Delphine Seyrig.
Color.
MISSISSIPPI MERMAID - 1969 - FRANCE
With Catherine Deneuve and Jean-Paui
Belmondo. Color and Scope.
THE WILD CHILD - 1970 - FRANCE With
Francois Truffaut and Jean-Pierre Cargol.
Plus: BUCK ROGERS, Chapter 8.
Hennig Supplements
Music Department
By Sue Carter and
Mary Donna Kimrey
A recent graduate of the North
Carolina School of the Arts, Mrs.
Drucilla Hennig makes an attrac
tive addition to Salem’s music de
partment. At age twenty-one, she
is married to a psychology major,
and both are doing graduate work
at U.N.C.-G. As a result of work
ing on her masters in performance,
she will be giving several recitals
in the Winston-Salem area and
hopes to give one here. In her first
year here she teaches no college
students, but gives private lessons
to town students and Academy girls,
.^mong others, she teaches both
Dean Sandresky’s son and Dr.
Chandler’s son. As well as being a
pianist, Mrs. Hennig also plays the
organ for the Pine Chapel Moravian
Church and thinks their tradition
of the love feast is a “neat ex
perience.”
After moving from her home in
Florida several years ago, Mrs.
Hennig came to Winston-Salem.
Her earliest impression of Salem
College was that it was “a very
Stymied place with very stilted girls,
but,” she says, “you’re not like that
at all. You look relaxed and nor
mal now.”
During her interview, she com
mented on various subjects: on
4-1-4 . . . “If a student is old and
mature enough to go to college, I
think she can handle independent
study (in a January program). It
should work out beautifully;” on
Woman’s Liberation . . . “I’m all
for women being liberated, but I
really dig my femininity;” on Dr.
Chandler , . . “Dr. Chandler is a
very wise man. Salem is very
lucky to have him. He is aware of
young people;” on music . . . the
Classical period is her favorite, and
she finds it hard to accustom her
ear to the music of such contem
poraries as Stravinsky and Cope
land. Painting is her hobby, and
she finds it a great tension reliever.
Since Mrs. Hennig doesn’t get
the chance to meet college students
through her teaching, some Salem-,
ites might like to make a special
effort to meet her and make her
feel welcome.
By Suzanne Wyatt and
Lisa Childes
Faced with such a heterogeneous
show in both style aind content, as
is the G. C. A.’s 3Sth Juried South
East Show, it would be futile to
compare all of the works or even
to judge them individually in ac
cord with what each artist was at
tempting. What is possible, is to
step back, to look at the show as
a whole, representative-of current
directions in art. As a result, cer
tain works stand out as dealing
successfully with the traditional
problems of their media, but in a
twentieth-century manner, that is,
taking into account the develop
ments of modern art. Others, by
contrast, are attempts at realism,
social comment, humor or clever
ness; all these things get in the
way, perhaps.
There seems to be an obsession
with subject and style which pre
empts a feeling for the media. As
Mr. Bill Mangum pointed out, many
of the works in the show are in
dicative of a current trend of sub
jectivity. Some works, however, are
so personal that a viewer feels they
should have been left at home, along
with the home movies.
“Nude with a Round Table,” by
Elsie D. Popkin, is a relief, since
the spectator has a chance, here,
to work a little. The colors give
the canvas life by the tension they
create, and Popkin’s brushwork is
not slick, but is handled well, adding
to the overall composition. This
could also be said of Vernon Pratt’s
canvas, “Clear” which is interesting
and worth studying. Popkin’s work
Avell integrates color and form;
■ Anne C. McLaughlin’s “Nude I”
does not, for example, since the
painting would not suffer, essenti
ally, if it were only black and white.
Perhaps the greatest interest in
such a show, however, is in its
diversity. Most contemporary styles
are represented, such as hard-line
abstraction, Andrew Wyeth — real
ism, illustrative realism, and pop
constructoins. Conspicuously absent
is a strong expressionistic style.
Definitely worth seeing are Wil
liam Mangum’s contributions in
sculpture, “Rembrandt,” and “Mask
of Rouault,” and Ed Shewmake’s
“Private Eye.” Also accepted was
Salem student Barbie Pflieger’s
watercolor, “The Homecoming.”
The pornography by the way is
only fair.
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