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About Oregon daily emerald. (Eugene, Or.) 1920-2012 | View Entire Issue (April 13, 1978)
‘New Dance designer Fisher makes weekend appearance Margaret Fisher, innovator the “New Dance” technique based on free-flowing movement designed to explore the powers and limits of the human body, will appear at the Open Gallery Friday and Satur day. While not well-known to the general art-appreciating public, but quite popular among dance connoisseurs, Fisher’s perfor mance of post-modem dance will include solo work in addition to video and audio tapes. For the past five years, her energies have been focused on movement built Ml - - * t' Margaret Fisher on the healing sciences, an out growth of her involvement with the Natural Dance Studio in Berkeley. Her repertoire for the Gallery performance will include "Split ting, Parts I through IV, a solo created in 1977 and 1978. An East Bay Review writer in Berkeley termed "Splitting” one of the “most humorous and inventive works” in quite awhile, and added that Fisher manages to create a non-verbal language with ele ments of mime, dance as well as hand and head gestures which is termed “unique.” Her video tapes will feature several San Francisco dancers, a part of her “New Dance" creation of the experimental and unusual performing arts theater, Cats Paw Palace in Berkeley, and currently has her own studio in Emeryville. She has toured America and France with the “Real Electic Symphony.” Fisher will be on hand Saturday at the Gallery, 445 High St., for discussion at 2 p.m. Tickets are $2.50. For advance reservations, call the Gallery at 345-4857. ensemble stages two shows Inti-lllimani, an exiled Chilean folkloric ensemble, will perform two benefit concerts this Sunday in the EMU Ballroom. The six-member band is based on Indian and peasant folk themes and recent compositions of socially-committed folk-based songs. They play a number of An dean instruments, including the quena (an ancient bamboo flute), the charango (a small, high pitched guitar made from ar madillo shells), and the zampona (a set of cane pipes). Inti-lllimani was one of Chile’s most popular musical groups be fore the overthrow of President Al lende in 1973. Formed in 1967, they performed on stage and in factories, town squares, and schools. They have recorded more than 14 record albums, sev eral of which will be available at the concerts. Proceeds for this concert, one of 12 in the United States, will go to “Chile Herido” (Wounded Chile). Times of the shows are 2 and 7:30 p.m. Admission to the matinee performance are $4 in advance or $5 at the door; the evening show is $5 in advance and $6 at the door. Tickets may be purchased at the EMU Main Desk, the Sun Shop, Everybody’s Re cords and Odyssey Records. Dylan’s film debuts with critical reviews By BILL LINGLE Everyone knows Bob Dylan. He’s the young punk who tried to sing his way into the bed of every Sarah Lawrence college girl almost 20 years ago with those weird not-quite-songs-not-quite poems. He’s the guy who justified the early Sixties’ folk boomlet by looking authority straight in the eye and telling it what was what for us when we were afraid to. He’s the guy who busted the boomlet by appearing with a — gasp — rock n’ roll band at Newport in 1965. He’s the guy who racked himself up on a motorcycle, went into a long seclusion and emerged melodically and didactically mellow. He’s the guy who sniffed the idiot wind of the Seventies and got angry all over again. He's also the guy who has a new film opening tonight at the Mayflower theatre. Credit him for being smart enough to know which way the wind blows in matters of popular art; movies, for the time being at least, offer the ultimate potentiality for cultural expression to the artist who’s done everythig else. But Dylan a filmmaker? The answer, if you believe in critics, any critic, is a resound ing “No!” Renaldo and Clara has not been well received, to put it mildly. It is not really Dylan's first film — that distinction belongs to something called Eat the Document, a Godard-inspired record of a tour with The Band — but it is the first one to garner the Big Treatment from the media. But media attention, especially when directed at a work that revels in obscurantism and celebrates its excessive length, is not always a desirable commodity. Renaldo and Clara, even before its first frames flicker in Eugene, is a colossal failure, a dead whale beached on the shores of apathy. A New York Daily News headline expressed the critical response with characteristic succinctness: “Dylan Fails.” The New York Times and the Post agreed, although they used more wcrds doing it. Richard Corliss, writing in New Times, calls it an “overstuffed memoir” and says the climactic scene of the film “holds less interest than a conversation of three accountants overheard at a lunch counter.” Rock critics have treated the film with the same disdain as, and more anguish than, movie critics. Dave Marsh says in his Rolling Stone column, “It’s hard to believe that any Bob Dylan project could matter so little.” The only kind words I’ve seen aboat the film are buried in Jonathan Cott’s incredibly fatuous Rolling Stone interview with Dylan. Cott is so busy impressing Dylan with his knowledge of every line Dylan ever wrote, and with reminding Dylan of his Jewish roots, that he says little about the film, but he at least takes it seriously, if uncritically. If you are as perverse as I am, and as much a Dylan fan, you may conclude that anything critics so unanimously pan must have some merit. I don’t relish spending four hours at the Mayflower, but interspersed among all the dream footage that everyone hates so much is a two-hour Rolling Thunder Revue concert. That alone should make Renaldo and Clara worth seeing. Mandolin virtuoso Hall to perform Euaene’s own Grea Field, who fnllnu/inn r>sv . v f -i— Inti-lllimani Kenny Hall, perhaps the most respected authority in the field of mandolin artists, will appear Tuesday at 8 p.m. at the Wesley Center, 1236 Kincaid St. Hall has recorded on Philo and Bay record labels and has ac companied numerous artists on recordings. As a solo artist he plays mainly American and Irish oldtime music, but occasionally will slip in a swing or Greek tune. Blind since birth, Hall has played mandolin (the rare round backed type) for some 30 years. He has earned the title virtuoso and is known for his music s clarity and clean sound. His style has in fluenced several mandolin players and has gained a "cult' SENIORS - GRADUATE students Apply for the 200 paid internships in western states in the areas of education; environmental management, and natural sciences; and other professional fields. Send resume or write: WICHE INTERN PROGRAM P.O. DRAWER P BOULDER, CO 80302 following. Hall lives in Fresno where he teaches vocational work-shops and plays local bars. He also has served as an artist-in-residence at several California universities. Hall’s special guest will be Eugene’s own Greg Field, who plays ballads of America and the British Isles. Tickets for the event sponsored by the Eugene Folklore Society, are $2 and are available at the door. People for Southern African Freedom present: Dr. Calistus Ndlovu United Nations Representative From The Patriotic Front of Zimbabwe mtmMmtm i. jiriHMwr f ——Speaking on: ZIMBABWE: The Struggle For Liberation and Ian Smith's "Settlement" MBNMMHMi 221 Allen Hall UofO lpm Friday April 14 Parra Q Qantinn Ft
