The Rice Thresher (Houston, Tex.), Vol. 68, No. 14, Ed. 1 Thursday, November 6, 1980 Page: 7 of 20
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ThresheiYFine Arts
Houston Ballet succeeds with remarkable, varied program
Dorio Perez, Andrea Vodelinal, Lorena Langlinais and Kenneth McCombie
Books
Houston Ballet
Jones Hall
Oct. 30-31, Nov. 1-2
Houston Ballet's late fall
program was a varied melange,
very similar to their opening show
of this year. There is no reliance
on traditional favorites this time,
however: no Le Coisaire or
Scheherazade as sure guarantees
of audience approval.
Instead, the evening opened
with Three Preludes, a pas de deux
combining the best of classical and
modern. The second number, also
choreographed by director Ben
Stevenson, was the Britten Pas de
Deux, a combination traditional in
structure and iconoclastic in style
that, for the most part, worked.
The third number was clearly the
season's experiment: choreo-
grapher Richard Kuch's attempt to
Rice grads publish Arts Calendar
The Houston Arts Calendar
Compiled by Kathleen Much and
Melanie Young
If people have doubts about art
and culture being alive and well in
Houston, all they need to do is take
a look at the new Houston Arts
Calendar. The Calendar was
designed and compiled by
Kathleen Much and Melanie
Young in response to the growing
interest in the arts in Houston.
The Houston Arts Calendar is
spiral bound and includes 55
photographs of works by Houston
artists. Listed throughout the
calendar are the 1981 schedules of
many of the performing arts
groups and other cultural events in
Houston and in nearby areas. In
the back is a directory of cultural
organizations, performing arts
groups, visual arts organizations,
and art galleries. This directory,
called "Access," provides
telephone numbers, hours, and
ther basic information about each
listing. The photographs , are
mostly in color and face each
week's page where information on
the artist appears.
Much and Young began the
project to make people more aware
of the number and variety of artists
making their living in Houston.
"We're always reading about
artists in books," says Melanie,
"and we have a tendency to think
about them as always being
somewhere else." This publication
certainly dispels that feeling.
Their intention was not a
snobbish "who's who" of Houston
visual art, but to get a
representative and balanced
selection of artists. They included
lesser-known as well as established
artists and succeeded in showing
the diversity that can be found in
Houston art.
The most interesting thing about
The Houston Arts Calendar for
the Rice community is the fact that
people who are, or who have been
associated with Rice, turn up so
often throughout it. For example,
there are Kathleen Much and
Melanie Young themselves.
They first met each other in the
summer of 1978 at the Rice
Publishing Program. Kathleen
had been in academic publishing
before that, but they both said the
program gave them the overall
view of design and marketing for a
project such as this. Kathleen is a
Rice graduate with both a
Bachelors and a Masters in
English. While she was a student,
she was editor of the Campanile
and had Geoff Winningham as her
head photographer. She now is
editor of fiice University Studies.
Melanie is also closely
connected with Rice as she will
receive her PhD from here next
spring. She is under contract to
publish her study on Joseph
Heller.
Geoff Winningham is featured
in the Calendar and also
photographed many of the other
works shown. Basilios Poulos,
Peter Brown, Janice Rubin and
PROSPECTIVE LAW STUDENTS
Law School and Legal Career
Information
DATE: .ionday, November 10,
TIME: 10:00 to 12:00
PLACE: Rice University
Further information available: Career Planning
and Placement, fiice University
McGEORGE SCHOOL OF LAW
UNIVERSITY OF THE PACIFIC
SACRAMENTO, CALIFORNIA
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IOINT DEGREE PROGRAM - MASTER OF LAWS I r.iv.ilion, Business taxa-
tion) — INTERNATIONAL PROGRAMS- At CREDITED: AMERICAN BAR
ASSOCIATION MFMBFR: ASSO< IAlION OF AMERICAN LAW S( HO( )| s
John Grossman are a few of the
many Rice associated people
whose work appears in the
Calendar.
The Houston Arts Calendar is a
world of art in itself. It retails for
$15 at the Rice Campus store and
many bookstores and department
stores throughout the Houston
area or it is available by direct mail
from Wordworks, Inc., 5105
Beech, Bellaire, TX 77401.
—Linda Mixa
portray a sequel to Bertolt
Brecht's Mother Courage and her
Children. The last number, The
Seasons, was an appropriately
spectacular grande finale with
dozens of dancers, bright
costumes, and beautiful technical
craftmanship.
The two first numbers were very
similar. Both were pas de deux
and mixtures of the traditional and
the innovative, although in very
different ways. Three Preludes,
danced nearly perfectly by Janie
Parker and Dennis Poole opening
night, begins with two dancers at a
barre, proceeds to a slightly
hesitant duet, and ends as an
the prescribed form of the
the traditional pas de deux.
uses this dance to contrast the
stereotypes of ballet with what
dance actually is. He flaunts the
time-honored forms of the pas de
deux to show that dancing is not
dancing is not subservient to form
as the opening scene at the
traditional barre suggests, but an
escape from the rule of the world
into the realm of pure pleasure.
In contrast to this mixture of
classical technique with modern
form, the Britten Pas de Deux is
modern, rather Oriental in its
movements, but perfectly follows
the traditional rule of form.
Consequently, it is too predictable
to be as exciting as Three Preludes.
Within this limitation, the number
was well danced by Suzanne
Longley and Kenneth McCombie.
The third number, The Brood,
was haunting. Kuch's work, set to
music by Pierre Schaeffer, is a
scenario of the contrasts of war.
Without trying to explain the plot
— which would only be sensible to
someone familar with the original
Brecht drama — The Brood is
essentially a work about the futility
of living. The piece gives us a
mother who has lost all of her three
children in war. She has survived,
but the ghosts of her children come
back to torment her. Finally the
spectres leave, but only after they
have made clear both to their
mother and to the audience that
death is the only possible end. This
theme comes out in images of
movement from children's games
to military maneuvers and gestures
of intimacy to horrifying
swastikas, as well as in the
lugubrious music.
As all programs should end, this
performance's finale was
scintillating. Set to Alexander
Glazounov's vibrant music against
a shifting background of ice
crystals, sunrises, flowers, and
molten mosaics of light with
nymph-like costumes (whose
profusion of colors was sometimes
a little too distracting), The
Seasons is an ultimate statement.
It conjures the miraculousness of
nature, including man, into one
spectacular display. It is a dizzying
and powerful number, well-suited
as the final touch to a remarkable
program.
-Deborah Knafj
Independent
Ambitious.
Unconventional.
Curious.
Uncertain.
Five words that dont scare us at Digital.
In fact, if these five words describe you,
we'd like to meet you.
We are the world's largest producer, of
minicomputers. And we've always been the
ideal place for independent- MHI
minded people who want to grow ^lnl
fast. People who want to
investigate and apply new approaches to
problem solving. People who want the time
and opportunity to find the right career path.
Consider us when you're ready to
D begin your career.
We are an equal opportunity
employer, m/f.
We change the way
the world thinks.
See us on campus.
A Digital representative from ^ ei|t'al Engineciing
will be on campus on November 10, 1980
to meet Electrical & Mechanical Engineers & Computer Science Majors
for additional information, contact: Office of Career Planning and Placement, Lovett Hall
n
The Rice Thresher, November 6, 1980, page 7
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Dees, Richard. The Rice Thresher (Houston, Tex.), Vol. 68, No. 14, Ed. 1 Thursday, November 6, 1980, newspaper, November 6, 1980; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth245454/m1/7/: accessed April 24, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Rice University Woodson Research Center.