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About Oregon daily emerald. (Eugene, Or.) 1920-2012 | View Entire Issue (Feb. 25, 1925)
Art £)rama Music j s Edited bv Eleanor Burtchaell — Clifford Zelirung — Emily Houston (The following weekly features are printed in the Emerald as indicated: Tuesday. Lemmy’s Ghost, Society: Wednesday. Art, Drama, Music: Thursday, Poetry: Friday. World of Sports: Saturday. Library Browsings, Contributions for aitv of these columns may be left in the Emerald Box at the circulation desk tn the University Library, or at the Editor's office.) at——■—«——■>—«—"—"—■— Art? Why ask me? Listen to Baudelaire: What do you like best? say, enig matical man—thy father, thy moth er, thy sister or thy brother? “I have neither father, nor mother, nor sister, nor brother.” Thy friends? “There you use an expression, the meaning of which till now remains unknown to me.” Thy country? “I know not in what latitude it is situated.” Beauty? “I would gladly love her, goddess and immortal.” Gold? “I hate it, as you hate God.” Then what do you love, extra ordinary stranger? “I love the clouds. . . . the clouds that pass. . . . there. . . . the marvelous clouds!” And so it is with Art. . . . per sonal. THE CAMPUS “POT POURRI” There is really little need for the architecture majors to wander far from the campus to find a multi tude of examples to study. In fact, like the bluebird, they may be found right here “at home.” Have you ever put aside your utilitarian impression of a building and “look ed” at it with a sense of apprecia tion or condemnation, artistically speaking, instead of having your usual impression of the place? No doubt, too many people never see the beautiful side of things, their minds are too prosaic, they never pass a building without thinking of it as the place where they keep the horrid lizards and dead cats or the place where it smells so funny. The campus is surely furnished with a pot pourri of architecture. Have you ever thought of Deady and Yillard, “grandpa and grand ma” of the campus, as being of French Renaissance type? There is a tale connected with the queer little roofs of the towers, which are called Mansard after the man who originated them. Both halls are of the style that was so popular 50 yeaTs ago. The library I can com pliment no further other than to call it “just building” or pure American box type—“it ain’t got no style.” But just the same, I have seen it through the trees at times when I might have been more complimentary. The Administration building is of the classical, or Gre cian type. Susan Campbell, Hen driek’s hall and the Woman’s building are a combination of Geor gian and colonial type. This style would be much more individual were the surroundings of the kind that would carry out the Georgian colonial idea. The Oregon and Commerce buildings are modern Romanesque, as the new science structure will be. Uniformity is being obtained on the southwestern corner of the campus through the furthering of this type. McClure hall is rather hard to classify,• es pecially with the “Journalism box” grafted onto its east side. I can not say much more about it, except that it looks outside just like it smells inside—rather awful. The Art building seems quite unexpected up in the northeast corner of the campus, its creamy-white Stucco, red tiled roofs, and patio following the Spanish style, being rather a coy contrast to the grey sedateness of the nearby halls. It is the greatest departure in architecture on the campus, but one remembers that the purpose of the building calls for “something different.” So you see—an ensemble of this and that. And because of the irreg ularity of architectural style, one finds odds and ends of interest. Of course, even though regularity of construction does denote greater ef ficiency there is more attraction of interest in the irregular. Some thing like the boy who said that good things weren’t interesting— isn’t it? I can’t lielp contrasting the cam pus buildings which were thrown up in half the time because of the pressing need of room .and with about half the amount of money needed, with the great Liverpool cathedral which is being built now. Three and a half millions have been spent so far, in completing only one unit of the structure. There will lie many more millions spent before the cathedral is finished, the com pletion of which will take many years. What an ideal contrast? TOLSTOY—‘ WHAT IS ART?” The librarian gave me a large book the other day after T asked for something interesting on art. Tt was a volume about the sire of an Encyclopedia Brittanica and mv in stant reaction held about as much enthusiasm as if the book had been the Encyclopedia itself. T have a [dislike for big books—they usually begin to bore one after the first half, for not many authors who write “big books” put much more in them than is put in smaller books. But I was polite and took it. Now after reading it, I shall say it did not bore me, and it didn’t deal with something that died after the first half. The book was “Tol stoy on Art,” a translation of the Russian critic’s work by Aylmer Maude, the English author. The translation is handled with clear ness and lucidity. It is not a book of lines, curves and colors—not done in a textbook style that is intended to give the reader an education, but a collec tion of Tolstoy’s essays on art, which are woven around some colorful incidents of his life, and a discussion of the work of De Maupassant, Shakespeare and some French, Russian and a few German writers. The greater part of the book is given over to the answering of the question, “What is art?” a part of which has been previously published as a separate book. « * » I like the normality of Tolstoy. He dislikes anomalous examples of any kind, claiming that only the natural can portray the highest form. When his work “What is Art” first came out, it was not easily taken by the public whose ideas are often hard to change— even when they are wrong. It was new—startling, caustic; it denounc ed the critics, artists and art schools that had been regarded as “god” in their own world. Tolstoy is not one of the drove of “noveau intelligent (?)” that try to put themselves above what they might call the unwashed multitude —he is easy to read, agreeable, nat ural, unaffected and interesting. SAINT JOAN AND THE FLAPPER Shaw’s “Saint Joan” will be a most disappointing play for the in dividual whose introduction to Mediaeval life and spirit was made via Cabell. To a great class of readers the Jurgen pargon trans ports them more completely to the Middle Ages than would a more deeply intelleetualized treatment of Mediaevalism; in other words, they like their apple pie with whipped cream on top of it. Those, how ever, who prefer it plain will get more of the real spirit of the Middle Ages out of one page of Shaw’s play than from a complete, auto giaplied edition of Cabell. In mod ern and well written English the spirit which' underlies the church and the feudal state is most convince ingly presented. Shaw, unlike Ca bell, does not need to depend upon somewhat doubtful Mediaeval phraseology or still more doubtful poetry to create an atmosphere. Another disappointment awaits the romance lover for Shaw has given us a rationalized Maid of Or leans. As always happens when a traditional and conventionalized conception of an historical charac ter is tampered! writh—and Shaw does tamper—the lover of the stereotype ideal shouts in dismay. Some Of our moderns who retain in violate in their mental processes the image of a pale, fervent and somewhat emaciated Joan, and who need the persiflage of so called Mediaeval diction to complete their stained glass window of the mar tyr, accuse Shaw of making her too modern—the epitliej. of flapper has even been applies. Shaw’s Joan is just a daughter of a well-to-do far mer who breaks away from her home in order to more completely live her own life—to express herself if you will. But her imagination and vision are far ahead of the woman who does the same thing today, because her desire for “self expression” is awakened in her by voices, voices which whisper great thoughts into her ear, while the girl of today is only actuated by a mild unrest. Perhaps that is one reason why the latter becomes a stenogra pher and the Maid of Orleans a martyr. The person that condemns Shaw’s creation with the term “flapper” is only irritated because a long cherished picture of Joan has been smeared and forgets that what they proudly term the “modern woman” might be more applicable—that is, if they also stopped to realize that the modern woman was essentially the same in fifteenth century as she is in the twentieth. The type is only more numerous today. An other difference lies in the fact that Joan was a natural born leader, or boss, as Shaw puts it. She not only had the desire bat the ability as well. In short, Joan was a genius who had a right to leave the [paternal domicile in order to Rive the world the benefit of this some | what rare type of spirit. The reader who is familiar with . Shaw will read the preface. To those who are not—if such there be —and who ordinarily skip prefaces, take warning. In some respects it is much better than the play.—Dar : rell Larsen. OUR “OPERA" SEASON Harry and Robert Smith's oper-j iettn, “The Spring Maid,” was the] second performance given by the j Brandon Opera company during its short stay in Eugene. “The Spring Maid” is the vehicle in which the charming Mitzi sang herself to one of her greatest successes. Ed Andrews, as Roland, the. great English tragedian, did the best comedy work of the opera, with the able assistance of George Oleson and Chester Bright. One of his clever est line, “You cannot give a show without actors, though ’tis often done,” seemed in a way applicable to many of the lesser members of the company. Theo Pennington's singing voice is excellent, but both she and Harry Pfeil play to the gallery in true vaudeville style. “The Spring Maid” was very enjoyable to those who had never seen it before and was very much appreciated by the rather large audience.—C. Z. The first part of the first act of Reginald DeKoven’s famous comic opera took on the nature of a chorus-girl rehearsal at some medi ocre variety theatre. The succeed ing acts, however, quickly gathered the spirit of “America’s Best Loved Opera” and carried it through to a successful end. Two of the best solos, the “Nut Brown Ale” and the “Whittling Song,” although spoiled somewhat by the volumn of the chorus, were very pleasing and gave Chester Bright and Carl Bun dsehu opportunity to use their fine voices. Geo. “Ole” Oleson, ns Sir Guy of Gisborne, ably assisted Ed An drews, as the Sheriff of Notting ham, in his nefarious designs on the purse and persons of Maid Marian and Robin Hood. The Brandon Opera company’s four performances were well attend ed by both college and townspeople and furnished a welcome diversion from the usual run of movie shows. —C. Z. “KEMPY” IDEALLY CHOSEN .T. G. and Elliott Nugent’s spark ling little three act comedy to be presented at the Ileilig theatre to morrow night by Mask and Buskin, is in many ways a most ideally chosen play. For several years past, the local chapter of the Associated University Players have presented their one play a season with marked success. Last year the A. A. Milne comedy, “The Dover Road,” gave opportunity to graduating members of the senior company to do some | of tlie best work of their Univor-1 sity careers. Darrell Larsen, Kato Pinueo, and Pare Swanson took the loads. “Kempy” is a play in which there are no bits. Five of the eight char acters can easily bo called lends, and the other three are of the choice character parts which a true actor loves to play. Its vaudeville linos, suspense, surprise, and humor, all combine to make a comedy which should appeal to everyone. FOUR OPERA STORIES After hearing the operas present ed by the Brandon Opera company here during the past few days, ono is naturally interested in their his tory, the composers, and in the his tory of opera. The four operas pre sented were from the work of differ ent periods and were of different types. “The Bohemian Girl,” by Michael William Balfe, was taken from a romance by Cervantes. The words, by Bunn, were adapted from St. George’s ballet “The Gypsy.” The first presentation was in 1858 as “La Zingara,” the Italian version of the opera. Later he added sev eral pieces and recast the work mak ing it into “La Bohemieunc,” the French version. It. was produced then in Paris in 1860, for which Balfe was made Chevalier de la Le gion d’llonneur by the French Em peror of the French ami Commander of the Order of Carlos 6 by the Re gent of Spain. The opera is a love story of At line who is stolen by gypsies and grows up with them. She is inter restored to her father, Count Arn heim when he recognizes her by a scar while she is being tried for stealing. The songs, probably too well known to mention include “The Heart Bowed Down,” “Come With the Gypsy Bride,” “I Dreamt I Dwelt in Marble Ilalls,” “When Other Lips and Other Hearts,” “In tlie Gypsy ’s Life You May Read,” and others. “The Mikado,” or “The Town of Titipu,” was written by Arthur Seymour Sullivan with libretto by W. S. Gilbert who worked with Sul livan on the greater part of his many operas. “The Alika” appear ed in March, 18S5, in London, and in August of the same year in New York. It Iras been the most popular work of tlie two men unless “II. M. S. Pinafore” be made an exception. The entire opera is del igl it fully humorous from Ko-Ko the Lord High Kxccutioller who is a “re tailer of state secrets at a low fig ure,” and Katisha, whom he terms “that old back number” to Nanki Poo the Mikado’s son who is to be executed one month after his mar riage to Yum-Yum, and Yum-Yum herself whose affection is consider ably cooled after she learns that the wife of one who is executed must be buried alive. The songs include only one of Japanese /color, the march chorus in the second act, “Aliva Sama, Aliya Sama.” Others are “You Alav Put ’Em on the List and Titov Never Will l>o Missed.” sung by the Lord High Executioner; flip “TliveO Little Molds From School Are We,” by Yum-Yu in, Peep-Bo and Pitti-Sing; “A More Humane Mikado Never,” which the Mikado sings when he forgives Ko Ko for beheading his son Nanki-Poo though Ko-Ko still must be boiled in oil because it is tdip law. Then there are the old favorites, “On a Tree by a River a Little Tomtit,” and “The Flowers That Bloom in the Spring, Tra-La.” “Robin Ilood,” though employing a purely English theme, was written by Americans and is classed by crit ics as the representative American opera. The music was composed by Reginald PeKoven and the liber- • etto was supplied by Harry B. : Smith. The first production, in 1890 in Chicago, proved the opera j a success and it has since proved one of the most popular of all light operas. * # * “Of ‘The Spring Maid’ one finds little written. It was translated from the German “Pie Bprudelfee,” and produced here in 191”. The opera was written by Wilhelm and Willner but translated by Rein hardt and Smith and Smith. BACK TO THE GREEK For the history of opera one must turn first to the old Greek tragedies which were always produced with choruses and even the dialogue giv en with musical inflection. Between ancient and modern times no traces of the opera can bo found except one or two comic ballad operettas. Tn the sixteenth century an effort was made to revive the old style musical declamation with the re sult that opera as it exists today was originated. Beside the grand operas by well known composers the Opera Buffo or comic opera Was developed. It has grown in popu larity until in America it has been more popular than the heavier oper as. American compositions have boon in light opera and in lighter style still, running down into oper oltns and musical comedies. A FEW CLIPPINGS Emily Bontly Pow, Id-year-old violinist and pianist has been en gaged two weeks with the Coliseum theatre in Seattle. She plays Sara - safe’s “Ziegeunerwoison” and Saint Sacn’s “Rondo Oapriocioso” with the violin and movements from Beethoven and Raff Sonatas on the piano. * *• * Oregon and Washington high schools will have a music tourna ment by radio, the second annual tournament, on April 17 and 18. The meeting will be held at Forest Grove under the auspices of the school of music at Pacific univer sity. Competition will include glee clubs, vocal solos, duets, trios, quartets, and instrumental solos and ensemble combinations. PATRONIZE EMERALD ADVERTISERS Home of the big Wurlitzer Given the toughest job ever a man had to face, facing a hos tile, lawless mining camp, fighting for success, honor and a girl’s love — Tommy comes through with a smashing hit! Filmed in the pic turesque coal fields of Alabama. with LILA LEE WALLACE BEERY at the WURLITZER Regular Prices Comedy “RAISING CAIN” Robert V. hAinsworth ADOLPH ZUKOR JESSE L. LASKY fJSESENT NEW SHOW TODAY for 2 days THOMAS IVlEIGhAN* Coming Through' PLEDGING ANNOUNCEMENT Kappa Delta J’lii announces the pledging of Albert Freeze of Junc tion C'it.y, Oregon. PLEDGING ANNOUNCEMENT Sigma Beta Phi announces the j pledging of Viola Harris of Salem. 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There is macar oni and tomato sauce, made just a little differ* plat with green peppers - and topped with bread crumbs; macaroni cut into small pieces with melted butter poured over it; ■ * macaroni baked with ' cheese that bursts in boil- > ing biibliles on the tflble. You can’t help liking J macaroni that tastes like that. } Table Supply Go. | 104 9th St. E. Phone 246 . ! ;r, ‘^Let’s Eat” After the show, after study or at the end of a dance your first thought is the Oregana and one of George’s fried ham sandwiches or an egg omelet. Sflje GDmjatta « »r|- *# ■ B ■ ■ ■ ■ ■IILWIIIIMIIBHBMIHII CALL A Black & White Cab j* ( \ PHONE 158 j *♦ WHY PAY MORE? ■It U. OF O. TAXICAB CO.