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6The Daily Tar HeelThursday, February 23, 1984 Seminar to teach self-defense By HEATHER HAY Staff Writer Teaching women how to defend them selves from incidents ranging from street harassment to rape will be the focus of a self-defense seminar from 2 p.m. to 6 p.m. Saturday in 106 Fetzer Gym. "You don't have to be big or strong to defend yourself," said Kathy Hopwood, leader of the seminar and head of the Triangle Women's Karate Association. "You just have to be smart and think ahead." The. seminar, sponsored by the karate association in conjunction with the Asso ciation of Women Students, will involve self-defense techniques, role-playing and assertiveness training, Hopwood said. Kia, a fim about women who train in self defense, will also be shown. "Kb is Japanese for 'yell,' a war cry, to say no," Hopwood said. "Teaching women to f;v ur-v- - - against our conditioning as women that a major part of the seminar is often spent breaking through psychological barriers." Hopwood pointed out that not all ag gression toward women involved sexual offenses. "A woman needs to know how to defend herself verbally," she said. The seminar will- incorporate what Hopwood calls "confrontation trafning" to teach women how to handle harassment on the job, on the street or at school. "We're trying to reach the average woman who is less likely to feel self confidence about her body and her ability to defend herself," she said. Many women are afraid that the seminar will in volve throwing people down, Hopwood said. Though the workshop involves teaching women defense techniques based on the martial arts, Hopwood said the in structors did not suggest attempting to throw down an attacker. "You're trying to get away," Hop wood said. "By reaching out for him you give him the opportunity to pull you un derneath him." . Hopwood stressed that the workshop was not merely teaching women the physical aspects of self-defense, but a comprehensive approach toward self protection. "The workshop is geared toward a physical and mental prepara tion," Hopwood said. Hopwood, a black belt who has taught women's self-defense seminars for four years and trained in the martial arts for 10, estimates that she has taught more than 1,000 women basic self-defense techniques. "It's really something every woman should know," she said. Women interested in signing up for the seminar can register atthe AWS office; Tickets cost $3 and child care will be available. Scholarships are available for women who cannot afford the admission fee. 'Elephant' explores inequality, illusion By DAVID SOTOLONGO Staff Writer Onstage are a doctor, a bishop, a hospital administrator and a grotesquely deformedman. On trial are scientists, Christians, administrators and the au dience. Bernard Pomerance's The Elephant Man opened with, a special preview Wednesday night in Reynolds Theatre in Duke University's Bryan Center. The Duke Players Production is directed by John Qumi The play chronicles the last six years (1884-1890) of the life of John Merrick, played flawlessly by Mark Logan. Known as the "elephant man" for his severe body deformities, Merrick is re trieved from a traveling carnival act by anatomy specialist Dr. Frederick Treves of the London Hospital. Review When funds are secured for Merrick to remain indefinitely at the hospital, Treves (Paul Batsel) embarks on a project to "rehabilitate" Merrick. Holed up in his hospital room, Merrick is introduced to Madge Kendal, a London actress. She im mediately discovers Merrick is a highly intelligent romantic, and the plot takes off, Clum's direction begins clumsily with a barrage of one minute scenes that necessitates many scene changes. For tunately, Clum makes use of a slide backdrop for time references and nuggets from Treves' memoirs. Aside from the awkward beginning, the directorial style is in terpretive but not intrusive. The set designs are minimal, placing more emphasis on what is being said. Most of the scenes are dialogues between Merrick and a visitor. Logan and Batsel are at their best when together, par ticularly in one scene in which Treves loses his temper and screamingly begs Merrick to show his own anger. Clum's adaptation is interesting became it explores class ine- quality and illusion, two ideas that become inseparable the play reaches its second act. Act II begins with the members of the central cast taking spots onstage and thinking aloud how much Merrick reminds them of themselves. Even Treves, tKe devout Darwinist, falls captive to the Merrick-as-mirror idea. A tug-of-war occurs between science and Christianity as Treves and Bishop How (Mathew Borten) vie to explain Menjick's abnormalities. With the exception of a few irritatingly phony accents by minor characters, the cast performs well. Of special note is Bruce Simmons, who plays Merrick's manager, Ross. Simmons is both funny and tragic at the right times. As Merrick Logan radiates physical deformity without the bulky aid. of makeup or body suits. Any special makeup would appear obtuse and unnecessary. The hardest aspect of Logan's role is his speech. Merrick's head isso large that it hinders his speech patterns; he can only talk iry breaths. Logan delivers with a pace that is not too slow and that even accents Merrick's funny lines, of which there are many. In fact, much of the humor relies specifically on Merrick's delivery, and Logan never breaks stride. The Elephant Man is disturbing because we all rely on illusion to some extent. Merrick's grotesqueness is so severe it becomes faddish for London's elite to be seen with him. The guilt of one class of people for another is shown through each character's trying in his or her own way to "normalize" Merrick. The play's most telling scene finds Merrick interpreting Romeo and Juliet on the basis of illusion. Romeo, he tells Ken dal, did not really love Juliet because he relied on the illusion of her death to commit suicide. Similarly, everyone around Mer rick relies on illusion to see themselves in him to reinforce their own particular character, be it a scientist or a bishop. In this sense, Merrick is much like Jesus Christ. The Elephant Man will play through Saturday at 8:15 p.m. and Sunday at 2:30 p.m.' All performances will be in Reynold's Theatre, located on Duke's West Campus. For information, call 684-5088. Woody Allen's 'Rose' mixsa serious, comic By STEVE MURRAY Staff Writer In Zelig Woody Allen played a man who adapted like a chameleon to any social group. Leonard Zelig wanted to please everybody. As a director Allen tries the same stunt with his newest film, Broadway Danny Rose, in which he wraps up the different moods of his previous movies in a single package. The mixture works, offering a variety of delights to all Allen fans. Allen, who wrote the script, plays Dan ny Rose, personal manager for such dubious talents as a one-legged tapdancer and a skating penguin dressed as a rabbi. Danny is too nice a guy to be a top flight manager. His philosophy of life is "acceptance, forgiveness, love" in a world where "looking out for Number One" is the winner's motto. Danny's latest find is Lou Canova (Nick Apollo Forte), a once-popular singer who has run to fat and mediocrity. Lou haunts the nostalgia circuit of clubs and lounges. His specialty revue is "Great Crooners of the Past Who Are Deceased." In Lou, Danny sees great potential. His confidence pays off when Milton Berle agrees to check out Lou's act and con sider him for an upcoming TV special. But just when everything looks all right, it begins to go all wrong. Lou's mistress Tina (Mia Farrow) refuses to come to the show. She's Lou's good luck charm, and he thinks he'll fall apart onstage without her. So Danny goes to the rescue." ' Review He pleads with Tina. He chases her from her apartment to a wedding celebra tion at her parents' home. There Danny is mistaken for Tina's lover, and musunderstandings escalate into blood fued passion. The chaser becomes the chased as Danny and Tina race off, pur sued by her Italian hit-men relatives. This fugitive theme is a pleasant throwback to earlier films such as Sleeper and Take the Money and Run. Allen seems to be acknowledging the fun of sight gags and slapstick. MEN'S TENNIS vs. UNC-CHARLOTTE Friday 2 pm Hinton James Courts MEN'S TENNIS vs TENNESSEE Saturday 1 pm Hinton James Courts AGO GYMNASTICS CHAMPIONSHIPS Saturday 1 pm Carmichael Auditorium Duke, NC State, Maryland, and UNC battle it out on the apparatus for the ACC crown. Sponsored by 213 West Franklin St. & 1800 Chapel Hill-Durham Blvd. ANP THAT'S THE WAY-1 SEE IT! moimixfoismi ACTUALLY, YOU HAVE YOUR FACTS MIXED OP, CHARLIE BROldN... e 1 1 I VOl I GUESS MAYBE YOU'RE RIGHT I HAVE VERY 5TRON6 OPINIONS, BUT THEY DON'T LAST LONG DLCOM COUNTY by Bertie Breathed AW NOW, HtRC AiufaTip4 octogcharian -vnb ; mp wmmtm. COM N GuemiiA . 06T ir, e&MONZ IT'S WHO ? HCAR AFTER ALL t mse wars, ihi " ptmR-pmiR or- LITTLE FHTM0W9 7H6 House pmmf n We PiTTZR-PfiT..? THePl...? COCKROACHES ? 1 1 'Winter, 1946,' by Andrew Wyeth, is part of an exhibit at the N.C. Museum of Art. At NC. Museum of Art Art exhibit features Pyle, Wyeths By ARLAINE RtiCKEY Staff Writer, j "Howard Pyle and the Wyeths: Four Generations of American Imagination" is on exhibit through April 1 at the North Carolina Museum of Art in Raleigh. ( Included in the show are 63 works by Pyle as well as by Andrew, Jamie and N.C. Wyeth that exemplify the influence of illustration and the narrative tradition as established by Pyle in the "Brandywine School." Teacherpupil relation ships link these four artists, who all lived and worked in the Brandywine Valley in Pennsylvania over the last" century. Organized by subject matter, the exhibition emphasizes the imaginations of the artists in four rooms: fantasy and history, landscape and seascape, animals and portraiture. Review Pyle (1858-1911) dedicated himself to bringing the visual to literature. His many illustrations continue to enliven such classics as The Story of King Authur and His Knights. Pyle's works were also published in several periodicals. Among the illustrations included is The Buccaneer Was a Picturesque Fellow, published in Harper's Monthly Magazine in December, 1905. The original, a colorful oil on canvas, is an example of Pyle's philosophy that an illustration should "be made to fill out the text rather than make a picture of some scene described in it." Pyle worked at the time of the introduction of low-cost color printing. Many of his originals, therefore, are in color. The Burning Ship, however, painted by Pyle in 1898, is an oil done entirely in white, gray and black tones. It was published in Collier's Weekly on December 10, 1904, without text. A student of Pyle, N.C. Wyeth (1882-1945) continued this narrative tradition through illustrations in books. In 191 1, he illustrated Robert Louis Stevenson's Treasure Island, an ac-,.. tion which spurred N.Cs-careeiv'- - The transition- ht the 'Brandywine School": from illustra-1 tions to independent paintings came with N.C. Wyeth. An example is his Self -Portrait With Top Hat and Cape, painted about 1928. This oil-on-canvas is an interesting mix of a detailed realistic figure using darks and red colors contrasting with an impressionistic background using splotches of pastel colors. Andrew Wyeth (born 1917), whose only art instruction was from his father, N.C. Wyeth, began with an interest in il lustration. Today, however, with his independent paintings, he is known as one of the foremost artists of the 20th cen tury. Noted for artistic experimentation, Andrew's large por trait The Black (1969) is included in the exhibition. The Black is done in egg tempera on brown wrapping paper, which gives the rich browns and blacks a crinkled and torn texture. Andrew's development of the narrative tradition is evident in such paintings as Peter Miller, D. 1702 and Winter, 1946. He painted the latter shortly after his father's death. An ex planation of its meaning is included in the show. "It's ... my feeling of being disconnected from everything," Andrew ex plains. "It was me, at a loss the hand drifting in the air was my free soul, groping. Over on the other side of the hill was where my father was killed, and I was sick I'd never painted him. The hill finally became a portrait of him." The narrative tradition becomes surreal through the im agination of Andrew's son, Jamie Wyeth (born 1946). His large oil. The Raven, takes on the frightening and bizarre qualities of Edgar Allan Poe's poem. Jamie's paintings frequently offer to complete the nar rative tradition through the use of humor and irony, as in his Portrait of Andy, in which Andy Warhol is holding a dog with a facial expression identical to Warhol's. The exhibition poster has a full-color illustration of Jamie's 30 Dozen, a humorous account of a corrugated egg box with a rooster on top. v The exhibition was organized by the Memphis Brooks . Museum of Art in Memphis, Tenn., under the supervision of Dr. Douglas K.S. Hyland. Chief Curator Dr. William Chiego coordinates it at the North Carolina Museum of Art. The exhibition is funded in part by Hjidson:Blkmpan)' i and Central Carolina Bank. i . . ..? ....j. s Museum hours are 10 a.mV to 5 p.m. Tuesday through Saturday and 1 to 5 p.m. Sunday. No admission is charged. A free gallery guide also accompanies the exhibition, and a recorded tour is available for a small rental fee. For more in formation, call (919) 833-1935. Audience members who prefer the more serious Woody Allen of Annie Hall and Manhattan won't be disappointed, either. Though a comedy, Broadway Danny Rose buzzes with plenty of talk about honesty and betrayal. Confusion in relationships is a major theme as well. And, as ever, Allen gets a chance to stroll along with the female lead, discussing life and love. As the brazen moll Tina, Mia Farrow turns in a terrific comic performance. Her Brooklyn accent sounds just right. But the role is such a departure for her she has to camouflage herself behind huge sunglasses and a pile of yellow hair. Near the end of the movie the unobstructed sight of her face is enough to suggest a change of heart taking place. From brassy Tina she becomes the angelic Mia Farrow. Her cheekbones do the ac ting. Nick Apollo Forte makes Lou a believable lounge lizard. He's sleazy, but he isn't repulsive. Even if it's hard to respect his actions, at least his motives are always clear. Danny Rose is the immediate successor to Alvy, Isaac, and Leonard: he's all Woody Allen, an idealist struggling with the demands of reality. Tracked to a restaurant by Tina's family, he's more concerned with leaving the right tip than with leaving alive. Broadway Danny Rose isn't a perfect movie. But even its drawbacks might please fans of the bitter Stardust Memories and the somber Interiors. The view of the lounge audiences is stark, as if the camera were intentionally zooming in on blemishes. Also, Allen's approach to Italians, while used comical ly, is an exaggeration bordering on pre judice. He filters the culture through a grotesque Fellini lens, then liberally sprinkles it with mafioso, Godfather mythology. Overall, though, Broadway Danny Rose is a refreshing blend of comedy, adventure, and Woody Allen angst. Bit ter mixes with sweet, laughs with sighs. It's a well-balanced helping of life and art. TALK A UT PA ni Have you ever seen the beautiful clothes at The Shrunken Head? Just look at these exciting fashions for spring and summer. Sandy is telling Fariba about the great buys in mini-skirts and romper outfits at the Shrunken Head. The newest addition to the Shrunken . Heads swimwear sexy PLAYMATE suits and cover-ups. For that unique jean look white Jor dache jeans with matching S B. II jacket. 155 E. Franklin St. Layaway Now For Spring 942-7544 I T0VRS J kJ L
Daily Tar Heel (Chapel Hill, N.C.)
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Feb. 23, 1984, edition 1
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