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.. Setwe THE COLLEGE NEWS. Wednesday, February 11, 1959



a ae .~ THE COLLEGE NEWS *
FOUNDED IN 1914 :
Published weekly during the College Year {except during
Thanksgiving, Christmas and Easter holidays, and during examina-
tion weeks) in the interest of Bryn Mawr College at the Ardmore
Printing Company, Ardmore, Pa., and Bryn Mawr College.
The College News is fully protected by copyright. Nothing that appears
in It may be reprinted wholly or in part without permission of the Editor-in-Chief.
EDITORIAL BOARD

New Trends in Ballet And Ballerinas
by Toby Langen meee

(This is the first of two ar-
ticles on tthe New York City
Ballet, which gives several per-
formances annually at the Acad-

For the lay spectator, one of the
most exciting aspects of watch-
ing the New York City Ballet is}
the opportunity to see three of the
best ballerinas dancing today —
Diana Adams, Melissa Hayden, and

with exploring the range of human
feeling. Some do it through “story”
(as, Orpheus and Medea); some,
more purely through pattern and
gesture (as, Serenade and Sympho-
ny in C); and some, through experi-

Eerie oon scsnesntnenectvene see bony owing ‘s!- [Patrica Wilde—in the mont in| OMY Of Male in PAaelbis: sing with balance and ponition,
RE WINN 55 te i Spccaieci vere rrercesterers Serber ‘Broome, ‘60. |*Pired end minst truly modern ballet) ene sill treat eapecially |? Tesetd to emotion as well as to
Make-up Editor ...........sceesececececeeeeeseseees Frederica Koler, ‘61 |Choreography of our time. bales ! reat especially | music and movement (as, The Still
“Members-at-Large ..........0seeeesees E. Anne Eberle, 61; Alison Baker, ‘62 The New York City Ballet isan| the company’s prima ballerinas, | point and Agon).

Diana Adams, Melissa Hayden
and Patricia Wilde. Ed.)

EDITORIAL STAFF
Gail Lasdon, ‘61; Lynne Levick, ‘60; Gloria Cummings, ‘61; Sue Shapiro, ‘60;
Yvonne Chan, ‘62; Marion Coen, ‘62; Linda Davis, ‘62; Sandi Goldberg, ‘62;
Judy Stuart, ‘62.

It takes artists of great maturity
to interpret ballets such as these.
If the dancer’s understanding is not
deep and intense, it cannot be com-
municated to the audience in suffi-
cient measure to make the ballet
comprehensible; for movement
without the dancer’s idiosyncrasy
often means neither one thing nor

artistic organism that is in excit-
ingly close touch with today. To
watch a performance is not to be
taken away into fairyland, but to
have one’s sense of being alive
quickened and heightened, and to
have one’s fund of experience aug-
mented. The repertoire’ includes



ful ballets in the repertoire the im-
pression of order and. spareness
which seems to constitute the mod-
ern idea of beauty. The music is
often hollow, using only the bare

BUSINESS BOARD
Sybil Cohen, ‘61; Jane Levy, ‘59; Nancy Porter, ‘60; Irene Kwitter, ‘61; Sue
«Freiman; ‘61; Melinda Aikins, ‘61.
Business Manager
Associate Business Manager
_ Staff Photographer
Cartoonist

OE Pe HEE Ce. MeN S SEER CE ee Ruth Levin, ‘59
Elizabeth Cooper, ‘60
LS PER Beccorghan ee aN Per Holly Miller, ‘59

seer eeereesreeeeeeeeeesesee



Subscription Manager .............- .

iy 5 veeeeee Elise Cummings, ‘59

Subscription Board: Loretta Stern, ‘60; Karen Black, ‘61; Gail Lasdon, “61; Lois
Potter, ‘61; Danna Pearson, ‘60; Lisa Dobbin, ‘61; Sue Szelkey, ‘61; Elise

Cummings, ‘59; Sasha Siemel, ‘62;

Jackie Goad, ‘61.

Doris Dickler, ‘60; Kate Jordan, ‘60;



A Reinforced

Endorsement

~

It must be understood at the outset that not one of the
colleges, including Bryn Mawr, which have protested the so-
called “Mundt amendment” to the National Defense Educa-
tion Act, has objected to the oath of allegiance required by
that amendment. To require such an oath is presumably the

perogative of government.

The controversial provision of

the amendment is that which makes prerequisite to receiving
funds the filing of an affidavit by a student to the effect that
“he does not believe in, and is not a member of and does not
support any organization that believes in or teaches the over-
throw of the United States Government by force or violence
or by any illegal or unconstitutional methods”.

This disclaimer affidavit is

a most amazing piece of work.

It proposes to require from a seventeen-year-old student a
legally binding.assurance that any and all organizations he
may believe in (whatever that means), belong to or support

are not subversive.

No list or subversive organizations is
given or referred to in the Act.

If the provision were en-

forced any dispute would resolve itself into a question of who
determines whether an organization is subversive or not;
the usual test is the famous Attorney General’s List, which
is compiled from organizations mentioned in security hear-
ings, or, in other words, from hearsay evidence.

If the government of the United States has the constitu-
tional or statutory right to control what a person believes,
we are not aware of it. Paradoxically, because the colleges
and universities are responsible for the administration of the
oath and affidavit, those very institutions which most en-
courage freedom of thought find themselves accountable for
the beliefs of their students: so closely bound are academic

freedom and civil liberty.

__ We might add that the affidavit attached to this Act in
aid of students, while no such requirement is attached to old
age, farm or other benefits, implies that students are a par-

ticularly suspect group.

The College, in making a decision on participating in the
loan program under these conditions, is in a doubly difficult
position: first, benefits to students must be reconciled with
principle; secondly, the position of the College must not im-
pute to members of the faculty by implication any beliefs
which they do not hold. As we understand it, the decision
of the Board of Directors to deny to students this federal aid
was made partially because one-ninth of the sum would be
provided by Bryn Mawr as well as on the fact that Bryn
Mawr would be responsible for administration of the oath
and affidavit; on principle, College monies would not be used
to suport a disclaimer affidavit. We fully endorse this po-

sition.

~On the other hand, we feel that the issues involved here |

are fundamental to our much-touted liberties under the Bill
of Rights, and necessarily to academic freedom as well. The
Mundt ‘amendment seems another instance of the govern-
ment by peril, real or supposed, which became critical in the
McCarthy era and survives in such institutions as the loy-
alty oath required in order to obtain a passport and security
clearance requisite for employment at the United Nations.
For these reasons we do not think that the opposition has
been strong enough or sufficiently ‘explicit, although we can-
not ask that the College itself make statements contrary to
the convictions of a single faculty member. Es



_

~ CALENDAR

Thursday, February 12:

8:30 p.m. Common Room. Dr. Leo
Spitzer, Professor Emeritus of
Romance Philology, Johns Hopkins

' University, will give the Class of
1902 Lecture-on “Courtly Love.”

8:15 p.m. Roberts Hall, Haver-
ford. The second in the William
Pyle Phillips Lectures in Biology

__will be given by George E. Palade
of the Rockefeller Institute and
* Paul C. Zamecnik of Harvard Uni-




of H
House.

Show. Dance in Gymnasium until
2:00.
Monday, February 16: .

8:30 p.m. Ely Room, Wyndham.
Claude Vigée, Professor of French
and Chairman of the Department
of Romance Languages and Litera-
ture, Brandeis University, — will
speak on “Contemporary French
Poetry” in French, anes
. 8:30 p.m. Ely Room, Wyndham.
Grace Meade Andrus de Laguna,

will speak on “The Person and the
Human Individual.”
Wednesday, February 18:



ballets by Balanchine; Robbins, Bol-
ender and Culberg to music by
Stravinsky, Bartok, Tschaikowsky
arid Bach. Many of the ballets are
danced in practice costume on bare
stage, so that there is nothing to
concentrate on but. movement and
music. Instead of relying on music
that simply provides rhythm and
cadence, Balanchine and the other
choreographers have used as dance
scores music which is great in its
own right, and have thus been able
to create works often more excit-
ing than either movement or music
could be alone.

One gets from the most success-

bones of chords, allowing the
listener’s own ear to create a great
deal of what is heard; the move-
ment is an--economy of motion
which proportionately heightens the
richness of each small gesture. Yet
this idea of beauty does not do for
new ballets on old themes, such as
Balanchine’s Firebird and Swan
Lake: the spareness of his idea has
left the old ballets bereft of their
richness, unfulfilled and gaunt. The
ballets conceived and created in our
own time, however, all pertain to
today’s artistic needs in a most sat-
isfying and exciting way.

Most of the ballets are concerned

another to the spectator. In the
hands of some dancers a ballet may
seem like an idea that did not quite
come off; but danced by others it .
may be recognized as one of a
choreographer’s best works. Often
a ballet seems to get better and
better the more it is danced, as
more and more is discovered about
it.

It is upon the ballerinas of the
New York City Ballet that most of
the responsibility for interpretation

falls. In classical ballet the male



Continued on Page 3, Col. 3



Editorial Footnotes

International — An event, which
may well turn out to have more
historical significance than the see-
saw thrusts and counterthrusts of
the Cold War, occurred in late
January. This event, the announce-
ment by Pope John gXIII of plans
for the celebration of an Ecumeni-
cal Council of the Christian Church,
received surprisingly little notice
in the press, Yet such a Council,
were it held, would represent a
modern continuation of an appar-
ently moribund Christian tradition
and at the same time could be the
latest and longest step toward the
synthetic unity which the schis-
matic Christian Church now seems
to be seeking.

The tradition of ecumenical coun-
cils began with the famous Council
of Nicaea in A.D. 825 and continued
thorugh eighteen sych councils
down. to the Council of the Vatican
in 1869-70. The fixing of Church
dogma has been the purpose of
these gatherings of the leaders of
the Church; thus the last Council
proclaimed the infallibility of the
Pope. The Councils were meant to
Lencompass the “whole inhabited
world,” and by custom their. de-
cisions were binding on all Catho-

lics. It is not to be presumed, how-
ever, that the proposed council
would necessarily follows this pat-
tern.

(The Vatican release would seem
to indicate that the first business of
a Council would be the problem of
the disunity of the Christian
Church. Major lines of division sep-
arate the Roman Catholic, the

branches of Christianity. Evidently,
at the reconciliation of the Roman

Catholic and Orthodox Churches,
whose split dates to the Roman Em-

”

eleventh century.

Continued on Page 3, Col. 5



Notice






Orthodox, and the Protestant

the Council would aim principally

pire and became irreparable in the

The head of the Orthodox branch
at the present time is the Greek
churchman Athenagoras, who made

by Betsy Levering

‘Perhaps the most curious’ pop-
ular periodical on the stands to-
day is the Saturday Review. Only
tr yto place it among its fellows
and you will see what I mean: it
has points of contact with period-
icals as diverse as the New York
Times Book Review, Time, Harpers,
Scientific American and the Pro-
gressive, yet is drastically unlike
all of these. Once an adequate
adn somewhat staid compilation
of. reviews of books and the lively
arts, SR has dropped the limiting
word “Literature” from its title
and has plunged into Science,
Travel, Politics, Chess, Photog-
raphy, amd (most recently) Econ-
omics, without relinquishing its old
functions nor neglecting to fan
the poetic controversy at inter-
vals,

However, it is not this amazing
vigor and heterogenity of interests
which finally distimguishes the
Saturday Review. It is rather set
apart from every other sophisti-
cated periodical by a crusading
spirit.

The distinguishing characteris-
tics of this “crusading. spirit” are
two: first, that its objects are
broadly, humanitarian and not nec-
essaritpawell- defined; second, that



Resurgent Morality and the “Saturday
Review”

its predominant tone is set by a
stron gsecular morality, By the
first I mean that, unlike Time,
whose business is to get Republi-
cans elected, or the publications
of the White Citizens Council, the

Saturday Review is not the organ
of a cause. Nor is it the organ of
either the cluster of causes around
the word “liberal” of the word
“eonservative”. The incidents and
situations upon which it seizes for
comment or actiom are rather il-
lustrations of an attitude it would
promulgate than ends in them-
selves. By the second I mean that
the frame of reference in which.
the editorial Saturday Review op-
erates is not say, the maintenance
of Western supremacy or the pres-
ervation of civil liberties, ‘but an
Eighteenth Century morality. This
morality incorporates a Supreme
Being, who is asumed but kept
pretty well out of the picture, and
natural law ideas of the intrinsic
dignity and worth of human life.
In this framework, then, the
Saturday Review has taken some
interesting positions and surpris-
ing actions. It has, for instance,
engaged in humanitarian projects
pure and simple. Several years
ago, the magazine labored to bring
Continued on Page 6, Cols.-1, 2, 3



Japanese Plays

by Allison Baker

“The Influence - of Japanese
Noh-Plays upon the Symbolist
Plays of W. B. Yeats” was written
by Ryoko Suetsugu, a former
graduate student at Bryn Mawr.
She gives enough background and
technical explanation to make her
subject comprehensible to the lay-
man, and develops on this base a
very complete and interesting study



e
Notices
By popular request, Ruth Metz-
ger, pianist, from Curtis Institute,
is returning to play for Arts For-
um on Wednesday, Febuary 18.
The concert will be given in the
Ely Room, Wyndham, at 7:30, and
is to consist of sonatas by Bach,

| Beethoven, and Schumann.



If you have any deathless prose
or even something still burning to
be put on paper, don’t forget that
it might win you $50 in the Kath-
Jarine Fullerton Gerould Prize com-

ed ion. It must, however, be origi-









Influence Yeats

of it,

Miss Suetsugu points out that
Yeats’ early plays, grounded in
the Irish nationalistic movement,
did not combine lyricism satisfac-
torily with theatrical. effects, Often
they are dramatic poems, without
enough action to make them effect-
ive on the stage. Yeats realized
this, and made constant experi-
mental attempts at improvement.
Some of his earlier plays he re-,
wrote for stage production, with
varying degrees of success.

He also tried changing his sub-
ject matter, relying more heavily
on comedy and folklore; and in
some plays disregarded theatrical
effect entirely in an attempt to
express his principles and ideas
directly. In this way, even before
his acquaintance with Noh-drama, ©
Yeats was developing his own
somewhat similar forms.

Miss Suetsugu goes on to explain
the characteristics and forms of —
Japanese Noh-drama, It originat-
ed as ritual and ceremonial dance
and music, and its development is
parallel to that of the Japanese





| culture and social system. .