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UBC Publications

The Ubyssey Oct 13, 1978

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Array 'Mind control saved me from Nazi torture'
By VICKI BOOTH
A man who smiled through a
Gestapo torture session explained
Thursday how the mind can be
developed to control the body.
Jack Swartz told about 20
people in Hillel House about his
experiences in the Dutch underground during the Second
World War and how his ability to
"voluntarily control his internal
responses" was increased during
that time.
Swartz said he was only 15
years old the first time he was
captured by the Nazis and tortured.
"I sat with a grin on my face
which lasted about 15 minutes,"
.he said.
Swartz said he then fainted and
underwent a "mystical experience."
When he. awoke, he had no
capacity to hate or resent the
Germans, he said. Instead he
began to think about how he
could use his body to help others.
Swartz said he escaped captivity after seven months,
returned to Holland, and posed as
a Nazi in order to establish
contact between the underground
and the Nazis.
"I was hated by all my friends
and relatives.
"I walked around with a
swastika on my arm and rode in
German staff cars," he said.
As a Nazi imposter, Swartz said
he was able to establish radio
communicaiton with England in
the basement of German
headquarters. But the Nazis
suspected him and he was taken to
a prison camp again, he added.
German prisoners were only fed
once a day and were scared to go
to sleep because the rats would
nibble on them, Swartz said.
"I thought of nothing but how
to escape. I dug tunnels with my
nails. I learned how to live
without sleep, and did not get
hungry, as the other prisoners
did."
Swartz said he escaped again,
returned to Holland and was
brought before a tribunal and
denounced as a traitor. But the
leader of the Dutch underground
who wanted Swartz to pose as a
Nazi intervened and Swartz was
set free.
Swartz said while imprisoned
he used and developed the
techniques of holistic  medicine.
' 'The mind is the directing force
of the body," Swartz said. "Each
individual has mental capacities
by which he can maintain his
health."
Swartz said while most people
sleep eight to 10 hours a night,
they only get 24 to 48 minutes of
real sleep. The rest of the time
they are dreaming to solve their
unconscious problems, he added.
"I sleep only two to three hours
a night and do not dream. I dream
SWARTZ ... laughs at pain
in my waking state by always
listening to my unconscious." he
said. ,
Books' bucks
st admin
RUN FOR YOUR LIFE was name of game Thursday when distinguished
looking gentleman with pistol threatened unruly mob of jocks. Actually
man with golden gun, former B.C. Hydro boss and UBC professor Hugh
Keenlyside, was starting Arts '20 relay race from Vancouver General
— peter menyasz photo
Hospital to UBC, re-creation of race first run in 1920 to publicize need for
Point Grey campus. Engineers no. 1 team won eight mile, eight member
race in 34 minutes. Women's field hockey team was first female entry in, in
45 minutes.
SFU plans budget slashes, hiring freeze
By GEOF WHEELWRIGHT
Student politicians at Simon
Fraser University Thursday attacked administration plans for a
$500,000 budget cut and a two-year
hiring freeze on faculty and staff.
The cuts include a $180,000 slash
to the instructional salaries account, the fund which provides
teaching assistants' salaries.
This means there will be less TA's
at SFU and those remaining will
have larger classes to handle, said
SFU student senator John
Gingerich.
Gingerich said the cuts were not
an academic but purely a financial
decision that ignored the impact on
the quality of education.
"SFU has long been noted for its
small level of instruction, that is
tutorials. The university review
committee keeps harping on the
, quality of education, here and then
contradicts everything by slashing
$180,000 from the budget," said
Jim Young, another SFU student
senator.
Young said the hiring freeze and
cutbacks will result in some courses
being offered only occasionally and
may cause some students to spend
more time to get their degrees.
Gingerich said the cutbacks will
have a detrimental effect on every
sector of the university and blamed
provincial government funding cuts
for the situation.
"The government has really
screwed universities around," said
Gjngerich. The administration
should be looking at spending cuts
within its own structure, he added.
The SFU hiring freeze affects all
areas of the university except staff
replacement and new programs
with special monies already
allotted.
The cutbacks come at a time when
full-time enrolment at SFU this
year has increased by 5.5 per cent,
to 6,490.
Paul Sandhu, UBC Alma Mater
Society president, blamed the
education funding cutbacks on the
Universities Council of B.C. He
said the council encouraged the
SFU move. UCBC allocates
provincial funding to B.C.
universities and has been asking
them to justify their staff expenses,
said Sandhu.
The SFU action is a preview to
what might happen at UBC and the
University of Victoria, Sandhu
said.
The real solution to funding
problems will come when
universities stop altering the
traditional variables — teaching
assistants,  faculty and staff and
tuition fees — and
restructure themselves
he said.
completely
financially,
Sandhu said variables such as
tenure should be changed but
university administrators are not
willing to  consider such  actions.
By JULIE WHEELWRIGHT
Last year UBC students forked
out $35,839 in library fines with no
guarantee that the money would be
used to benefit the library.
Head librarian Basil Stuart-
Stubbs said Thursday the revenue
from the library fines goes into a
single account and is then
reallocated. He said the library
received its expected budget for the
1978-79 fiscal year and there have
been no library cutbacks.
He added the library has a more
liberal policy towards fines than
most universities.
"The policy of fining is a liberal
one that takes into account the
needs of students. We used to have
a system where students were fined
when the book was due whether
someone needed it or not," he said.
"Our system has few fines and
only students who inconvenience
others are fined."
Rita Butterfield of the library's
circulation division said students
are fined if they do not return a
book on request or if a book is not
returned by the end of the term.
"Our motive for fining is to get
people to bring books back," she
said. Butterfield said the idea Of
fining as a form of punishment is
false and added if students do not
agree with their fine they have the
alternative of appealing it.
University spokesman Al Hunter
said funds generated by library
fines are not "free money" and the
library does not make a profit from
the system.
Hunter said he thought UBC's
policy on library fines is a practical
one.
"There is n , other practical
system for getti.ig books back. If
there is anyone at the Ubyssey who
thinks they know of a better system
the library would be. happy to hear
about it," he said.
"You don't get a fine unless
you've inconvenienced someone or
if you have an extended loan. When
someone else needs the book then a
notice is sent out."
Stuart-Stubbs said fines collected
in the 1976-77 academic year
totalled $32,000.
Oh, happy birthday!
It's birthday time next Tuesday for one of the most venerable institutions
on campus — The Ubyssey.
As a treat for Ubyssey fans, we celebrate our 60 years on campus as the
finest rag west of Blanca with a special edition, featuring articles on The
Ubyssey through the dark ages up to now, flashback stories from Ubyssey
staffers of the past and reprints of some memorable moments in more than
half a century's newsprint.
For today's goodies, Page Friday kicks off its first theme issue of the
year with a look into theatre in Vancouver.
And also on Tuesday, an information meeting between Ubyssey staff
and interested students with compliments or complaints, at 7 p.m. in the
Alma Mater Society council chambers, upstairs in SUB. Page 2
THE      UBYSSEY
Priday, October 13, 1978
Wi
'Tween classes
TODAY
LE CLUB FRANCAIS
Reunion aujourd'hui, noon, International House
upper lounge.
UBC GAY CLUB
Coffeehouse   with   music,   refreshments,   9:30
p.m., Theodora's restaurant, 4th and Burrard.
UBC SKYDIVING CLUB
General meeting, noon, SUB 212.
WOMEN'S COMMITTEE
Women's drop-in, noon, SUB 130.
PSYCH CLUB
Bzzr night, 4 p.m., Buchanan lounge.
DEBATING SOCIETY
Organizational meeting, noon, SUB 211.
SATURDAY
CSA
Sports night, 7:30 p.m., Thunderbird Sports
Complex gym A.
WOMEN'S ATHLETICS
UBC soccer game, 10 a.m.. Queen's Park, New
Westminster; Varsity field hockey team hosts
University of Alberta, 10 a.m., Warren field,
UBC; UBC cross-country hosts annual Pacific
Northwest Meet; UBC Varsity field hockey team
vs. North Vancouver 1, 1 p.m., Trafalgar field;
UBC tennis team hosts Bellingham racquets
club, 1 p.m., Armouries.
PRE-DENTAL SOCIETY
Car rally, party, 2 p.m., meet at SUB bus loop.
CHINESE VARSITY CLUB
Car rally, 6 p.m., Oakridge parking lot.
SUNDAY
UBC SPORTS CAR CLUB
Club slalom, 10 a.m., B parking lot.
MUSSOC
Auditions for Cabaret night, 11 a.m., SUB 207.
CVC
Gym night, 7:30 p.m., Thunderbird Sports Complex.
MONDAY
SOUTHERN AFRICA WEEK COMMITTEE
Film South Africa: A White Laager, noon. Inter
national House.
Film Last Grave at Dimbaza, noon, SUB 207.
THEATRE DEPARTMENT
Auditions for non-paying dialogue parts in UBC
theatre 433 films, 3 p.m,, Brock Hall annex room
151. Male "and female actors in their twenties
needed.
AMNESTY UBC
Form letters for Prisoners of Conscience, 10:30,
SUB main lobby.
TUESDAY
LUTHERAN STUDENT MOVEMENT
Supper,   Don  Johnson  talks on  South  Africa
travels, 6 p.m., Lutheran Campus Centre.
SOUTH AFRICA WEEK
COMMITTEE
Film South Africa: A White Laager, noon, SUB
207.
Film Last Grave at Dimbaza, noon. International
House.
PRE MED SOCIETY
Dr. Graham speaks on admissions, noon, IRC 5.
BAHA'I CLUB
Informal discussion, noon, SUB 113.
Starts Today, Oct. 13-14
PRE-SEASON SKI CLEARANCE!
HARNESS
SALOMON 555
BINDINGS
Reg. $105.00
SALE
Nevada
Step in
Reg. $60.00
SALE
SKIS
ROSSIGNAL ROC.
170cm-175cm
Reg. $159.95
SALE
FISHER
HEAD
KNIESEL
ROSSIGNOL
*99*
UP TO
40
• Lota of Kid's tkls on Ml*
Lots of
Gloves
Reg. $30.00
SALE
$■) 0.95
CLOTHING
Kids — Men's — Ladies' Topher
Ski Suits
HEAD '
AMBA
TYROL .*■*««
All Ski Pants WW OFF
50
SM PACKAGE
Krystal Ski
Rand Binding
Poles
Reg. $240.00
SALE
'149
.95
SCOTT
BOOTS
Reg. $275.00
SALE
Fitting Included
BOOTS
*18!P
NORDICA
RAICHLE
GARMONT
BONUS!
On all 1978-1979
New Merchandise
there will be a
10°/<
discount lor
Q    the 2 days only
IVOR WILLIAMS
SPORTING GOODS
... i. s
2120 W. 41st Ave., Kerrisdale 261-6011
OPEN THURS. AND FRI. 'TIL 9 P.M.
DAILY 'TIL 6:00 P.M.
GENESIS
Lindsay Rawlings speaks on new age communities, noon, Buchanan 204.
WEDNESDAY
SOUTHERN AFRICA WEEK
COMMITTEE
Studio 58 presents The Biko Inquest, 8 p.m.,
SUB auditorium. Mike Wallace, UBC political
science professor speaks on False Security:
South Africa and the West, noon, SUB 207.
THURSDAY
MEDIEVAL SOCIETY
Discussion of medieval life, noon, SUB 113.
AMNESTY UBC AND
AMS PROGRAMS COMMITTEE
Judith Brocklehurst speaks on What is a Prisoner
of Conscience, noon, Buchanan 106.
•    •    •    •
/Valuable coupon ,
i     10% OFF   I
I
U.B.C,
Gates
Hair Fashions
Oils
-Z H   228-9345/
21 1613
4603-5 W. 10th Ave.
STYLING ONLY
ON
TUESDAYS & WEDNESDAYS
STUDENTS ONLY For
Good only on presentation     Appointment
224-1922
of this coupon.
Expires Oct. 31st., 1978
224-9116
5784
University Blvd.
Hair Studio Inc.
Unisex Hair Styles
i
i
i
i
i
THE CLASSIFIEDS
RATES: Campus - 3 lines, 1 day $1.50; additional lines 35c.
Commercial — 3 lines, 1 day $2.50; additional lines 50c. Additional days $2.25 and 45c.
Classified ads are not accepted by telephone and are payable in advance.
Deadline is 11:30 a.m., the day before publication.
Publications Office, Room 241, S.U.B., UBC, Van., B.C. V6T 1W5.
5 — Coming Events
International House
Tonight
DISCO AND LIGHT SHOW — FREE
For members and all UBC students.
8:30 p.m., Friday, Oct. 13.
228-5021  FOR MORE
INFORMATION
The Vancouver Institute   -
Free Public Lecture
OWEN BARFIELD
British Writer and Literary Critic
"The History of Ideas:
Evolution of Consciousness"
A retired British lawyer, Mr. Bar-
field is the author of several books
that explore the relationship between science, religion, philosophy
and history.
SATURDAY, OCT. 14, AT 8:15 p.m.
IN   LECTURE   HALL   2,
WOODWARD  IRC
10 —For Sole — Commercial
COMMUNITY SPORTS. Excellent prices
for ice skates, hockey, soccer, Jogging
and racquet sports equipment. 733-
1612, 3615 West Broadway, Vancouver,
B.C.	
11 — For Sale — Private
CLEAN 1966 CheveUe Wagon. S550. 283
motor, automatic trans., inspected.
263-3440 or 228-3089.
FEMALE YMCA membership. 10 months
Kft. $50. 526-1281.
20 — Housing
AVAILABLE IMMEDIATELY. Double
rooms, $75 each per mo., singles 8125-
$150 per mo.; kitchen facilities. Rent
discounts possible. 2280 Wesbrook,
ph. 224-9679, Mike or Greg._	
25 — Instruction
10 — For Sale — Commercial
THE POPPY SHOP. Location — 4394
West 10th Ave. and Trimble. Our concept — low prices. Up to 50% off
ladies fashions. Samples and size
range also. One season ahead of
leading retail and department stores.
So, buy wholesale and save your hard
earned money.
PIANO & THEORY tuition for Grades
1-10 and A.K.C.T. by graduate of
Musichochschule Frankfurt, Germany.
Westend: 682-4141 or 682-7991.
30 — Jobs
EARN EXTRA MONEY and help the
environment! Greenpeace needs canvassers. Good commission. Contact:
Linda Spong at 736-0321.
80 — Tutoring
WANTED: Someone to teach me Teng-
war. Write c/o T. D. "Baggins", Box
134, Gage (campus mail).	
85 — Typing
PROFESSIONAL TYPINO — IBM Selectric. Essays, theses, etc. Standard
rates. Kits area. Phone Lynda, 732-
0647.
ON CAMPUS TYPIST. Fast, accurate.
Reasonable rates. Phone 732-3680 after
6:00 pjn.
TYPINO — 75c per page. Fast and accurate by experienced typist. Gordon,
685-4863.
TYPING: Essays, theses, manuscripts,
reports, resumes, etc. Fast and accurate service. Bilingual. Clemy, 324-9414.
85 — Typing
PROFESSIONAL TYPING — Correcting
IBM Selectric.   254-8365.
90 - Wanted
SAVE MONEY   ^
ON SPEAKERS
Before you buy any other speaker drop in and
listen to our great LAB series of speakers al
unbeatable prices or for even greater savings
you can assemble them yourself with our easy
step by step instructions. We supply plans for
the home builder or choose from one of our
seven famous SPEAKERLAB KITS. 50 to 250
watts. Easy to assemble, beautiful to look at,
and beautiful to listen to. Guaranteed for 10
YEARS. Professional quality at half price.
SAVE MONEY ON STEREOS
Best prices on Akai. Sansui. Rotel. Dual. Kenwood, Sherwood, Scott, Electrovoice, Altec.
SAVE MONEY ON REPAIRS
Specializing   in   speaker   repairs,   tape
recorders, turntables, tuners and amps.
Additional discounts with student cards
Open Nightly Till 8:00 p.m.
SPEAKERLAB
1835 WEST 4th AVE.
CORNER OF BURRARD & 4TH
734-2823 — 734-4534   __^
PART TIME JANITOR for Lutheran
centre, 40 hours per month. Call 224-
1014 for further information.
35 — Lost
LOST: My telescope in last nites Sub-
films' presentation of "FANTASTIC
PLANET". Great show for a buck!
BRIEFCASE with books and calculator.
B-lot, Oct. 3. Reward. Call 943-3303.
LOST — Man's gold watch, in the area
of B lot. Engraved on back. Reward.
278-1908.
LOST — HP-21 CALCULATOR, Oct. 4,
CPSC 201. Call Gord, 224-3475.
TAN WALLET left in Buch 100 on
Wed.. Oct. 4th. Call Brigita at 738-
7544. ID.!
40 — Messages
65 — Scandals
Creative Clothes at
Reasonable Prices
3619 W. Broadway
(at Alma) 734-5015
GAY DISCO DANCE — All women and
men welcome. October 6, Grad Centre, Garden Room, 9:00 p.m.-1:00 a.m.
$1.50 with AMS  card,  $2.00  visitors.
70 — Services
THESIS AND
MAGAZINE BINDING
Permanent Hardcover m™<v»g
Gold Lettering
Reasonable Cost
CENTENNIAL    BOOKBINDING
224-3009 929-2708
Monday-Friday,   9:30-3:30
THUNDERBIRD HOCKEY —We require
statistician and public relations person for 1978-79 season. If interested
please contact coach Bert Halliwell,
228-4196.  "Support the T-Birds".
99 — Miscellaneous
EUROPE — Camping and hotel tours
from 8 days to 9 weeks. AFRICA —
Overland Expeditions London/Nairobi,
13 weeks, London/Johnnesburg, 16
weeks. KENYA SAFARIS — 2 and 3
weeks. For brochures contact Tracks
Travel, Suite 300, 562 Eglinton Ave.
East, Toronto, Ont. M4P 1B9.
INSTANT
PASSPOR1
PHOTOS
hSa^M^ASLTOl
1 ^^4558 W 10th
224-9112 or 224-5858.
ai=irs=Ji^ii=ir=Jr=n=Jr=sir=ii=n=
USE
UBYSSEY
CLASSIFIED
TO SELL - BUY
INFORM
=ir=zlr=zir=lr=lr=ir=ir=lr=ir=lr=Jt Friday, October 13, 1978
THE      UBYSSEY
Pago 3
Siddon slams 'socialist' Trudeau
The economic bungling and
inefficiency of "socialist" Pierre
Trudeau's government is making
middle class Canadians fear the
future, a Conservative byelection
candidate charged Thursday.
"Canada has gone too far down
the road toward socialism. Trudeau
has been preoccupied with giving
assurances to the less prosperous
and has forgotten that it is the
middle class which pays the bills,"
said Burnaby-Richmond-Delta
candidate Tom Siddon.
"People are afraid of losing
everything. There is a feeling that
we have built ourselves out over a
precipice and are just waiting for
the fall," the UBC engineering prof
told about 20 UBC Young Conservative club members in SUB 205.
"Half the MPs in  the House
aren't worth the salt they are paid.
Fifty per cent of them are unscrupulous in one way or another,"
he said. "I have heard of several
cabinet ministers who did what
(B.C. MLA) Jack Davis did. But we
don't have people who can put their
foot down on this kind of abuse
because no one really knows what is
going on."
Siddon said the latest auditor-
general's report which calls
government financial management
"grossly inadequate" and the
projected 16 billion dollar deficit
are evidence of the Liberal
economic mismanagement.
"There is no productivity with
people working solely for the
government. We must reintroduce
the idea that profit is a virtue — not
a dirty word," he said.
PIZZA GLUTTONS PIG-OUT on roof of bookstore after receiving record-
breaking delivery of 1,000 boxes of mozzarella munchies. Pepperoni poppers,  back bacon biters,  cheese chompers, salami slurpers and beef
—thomas chan photo
belchers later ordered 45-gallon drum of bicarbonate for celebration. Pizza
boxes were recycled to create new bookstore, made of paper mache.
Hooker's ply of wares investigated
WINNIPEG (CUP) — Vancouver is not the only place in
Canada questioning the safety
standards of Hooker Chemical, the
company which manufactures
poisonous chlorine gas at its North
Vancouver plant.
While    Vancouver    investigates
safety standards of both the
manufacture and transportation of
chlorine iri the wake of last month's
chlorine gas spill downtown that
sent 78 people to hospital,
Manitoba is looking into another
Hooker Chemical controversy.
"The power engineer scandal" as
it was referred to, first surfaced last
January when labor minister
Norma Price tried to have charges
against two chemical companies
dropped.
Hooker was one of the two
companies charged with violating
the power engineer act. Specifically
Students take board to court
CALGARY (CUP) — The
Federation of Alberta Students is
taking the advanced education
minister   and   the   University   of
Alberta board of governors to court
on Oct. 26.
The test  case  is  to  protest  differential fees for visa students.
' Bus system gets $2,000'
The UBC administration will give the Alma Mater Society $2,000 to
subsidize the new educational bus pass program, according to AMS
president Paul Sandhu.
The money, from the administration president's fund, will be used to
help defray costs associated with the production of the cards and the
hiring of two employees to distribute the passes.
The subsidy was requested by UBC bus pass organizer Bruce Armstrong after it was discovered the original student representative
assembly grant did not cover all costs.
"The grant was not quite enough to initiate the system and we
thought it would be very worthwhile to contribute an amount that
would go toward proper utilization of the passes," administration
president Doug Kenny said.
Kenny compared the subsidy to a grant made to the engineering
undergraduate society for the building of an electric car.
"Bruce (Armstrong) and the SRA worked very hard on the pass
system and I am delighted to be able to make a minor contribution to
insure its success," he said.
More than 440 of the $46 passes have been sold since Tuesday, when
the passes went on sale.
^ Passes can be purchased at the AMS business office in SUB 266.      j
"We're trying to test whether the
board has a right to charge people
based on where they come from,"
federation president Blair Redlin
said.
There is precedent in municipal
law equivalent to the board and it is
not supposed to be able to tax
someone based on their race or
occupation, said Redlin.
Federation lawyer Gordon
Wright said the U of A derives its
power to make changes in fees from
the Universities Act.
The case presented by FAS is
based on an alleged illegal
delineation of fees, said Redlin.
At question is last year's Alberta
visa student fee increase of $300 at
universities and $150 at colleges.
With the 10 per cent September
increase, fees are $330 and $165
respectively.
"We have exhausted every legal
and political channel, so we are
now trying the legal route," said
executive secretary Brian Mason.
they both had the wrong
classification of power engineers on
duty.
Hooker was charged with 21
violations of the act.
For this it was liable to a fine of
up to $10,500, but was only charged
the $2,500 minimum.
Although Price was unable to
have the charges against the two
companies cropped she did grant
them exemptions from the act in the
future. She also had the assistant
who leaked the information
concerning her attempts to have
the charges dropped fired.
Price said despite the fact the
proper class of engineers were not
on duty there had been no threat to
safety within the factory. The
Association of Power Engineers
disagreed with Price on this point
and said., in a letter there was no
good reason for granting the
companies an exemption.
In explaining her decision to the
legislature Price said, "These
companies have been operating for
10 years in an illegal way and all I
have done is to stop the harassment
so the companies can continue to
operate." On a number of occasions Price referred to the inspection of the plants by
representatives of the provincial
department of labor as
"harassment."
Price said the reason the companies had been unable to hire the
class of engineer required by law
was that they do not pay as high as
competition in Alberta does.
Siddon charged Canada's present
economic problems are a result of
the explosive growth in
bureaucracy which occurred after
Trudeau assumed office. He said
the Conservatives would stop
public sector growth and not merely
limit it as the Liberals propose.
"Over the next three years we
could cut 60,000 jobs
through attrition alone. This would
put $300 a year into the pocket of
every Canadian by allowing for a $2
billion tax cut," he said.
Siddon said that under a Conservative government the functions
of the vacant jobs would gradually
be returned to the private sector.
The Tories would overhaul the
unemployment insurance scheme
by diverting a large portion of its
current budget into a skill
development program, he said.
Unemployment insurance commission claimants would then be
given factory work for part of a
week and would attend a technical
institute for the balance, he added.
"If the government is going to
pay people it might as well be to
insure employment — not to insure
unemployment as the present set up
does."
Siddon said he supported Tory
leader Joe Clark's plan to deduct
property taxes and mortgage interest from income tax. The move
would create bouyance in the
construction industry, he said and
added that it would give young
Canadians a break they need to
start out.
"The approach of the current
government has been to take things
away. The Conservative party
believes in using taxes as incentives
for growth," he said.
Milsum and
Bhatti win
as SRA reps
Catherine Milsum and Roger
Bhatti defeated four other candidates Wednesday to win arts seats
on the student representative
assembly.
Milsum got 201 votes while
Bhatti received 132.
Losing candidates were: Bob
Staley, 51; Len MacKave, 18;
Michael Reynolds, 15; and Yogaish
Sapra, 11. There were also three
abstentions as 431 arts students
went to the polls in the arts undergraduate society elections.
Bhatti said he was pleased with
the results and added that people's
attitudes towards the election were
good.
"I think that people paid attention to the issues rather than
making it into a popularity contest," he said.
Less than 450 students voted out
of the 5,000 eligible, but this should
be considered a good turn out for
arts, Bhatti said.
He also promised to battle the
poor financial situation many
students face and to increase
participation in the AUS.
Both Milsum and Bhatti said they
are opposed to the constitution
proposed by engineering undergraduate society president Brian
Short. His proposal places only
undergraduate society presidents on
the SRA.
Meanwhile, Craig Brooks easily
defeated his only opponent to
capture the science undergraduate
society SRA seat Oct. 5.
"It was a quick operation, we
didn't get much advertising," a
polling booth official said. The
election was typical because only a
small percentage of 3,500 science
, jstudepts, voted," he said. Pag* 4
THE      UBYSSEY
Friday, October 13, 1978
Arrogant dean sparks revolt
It's time the university administration came to a long
overdue conclusion — that arts dean Robert Will
won't do.
The students know it, the faculty know it and the
administration — which will not publicly admit it —
also know it. Dean Will, the man in charge of UBC's
largest faculty, has shown ever since he took office
that he cannot deal with students on a rational,
coherent basis.
Put simply, Will does not like students to get 'uppity' by doing things like getting involved in the affairs of
their own faculty.
This attitude is absolutely unconscionable for a man
in Will's position.
The latest example in a long line of outrageous anti-
student actions was publicized in Thursday's Ubyssey.
Will, acting like the emperor, rather than the dean of
arts, suppressed the release of a report dealing with
important topics such as the ,quality of reading
courses, professor/graduate student working relationships and funding in arts graduate courses.
The report was the result of meetings between
history graduate students and a history department
review committee. Will has circulated the report
among faculty but withheld it from graduate student
representatives — the people who are supposed to be
a communication link with all other students.
According to one representative, Will said he would
"consider" releasing the report to the representatives
only if they agreed not to show it to anyone else.
How magnanimous! One might think Will was offering a glimpse of the holy grail, with the conditions he
sets for viewing it.
But Will's statements — actually pronouncements
from upon high — are not surprising when looking
back on his track record.
In October of last year the dean infuriated arts
students by ejecting from an arts faculty meeting an
arts student senator, president of the arts
undergraduate society, five would-be representatives
and a Ubyssey reporter. The meeting was open to student representatives but Will went strictly by the book,
which allowed him to eject some of the students.
The students who were permitted to stay said later
that they had been largely ignored.
In November of the same year Will said he had "no
comments or any public statements to make" on student representation in the arts faculty, when The
Ubyssey tried to speak to him.
It is obvious that Will "condescends" to student
representation at UBC only because university regulations make it mandatory.
Administration president Doug Kenny, who was
arts dean himself before Will and has repeatedly stated
that he will not intervene in faculty affairs, must know
full well that Will has proven a disastrous choice,
alienating both faculty and students.
The question now is whether Kenny has the
willpower to effectively deal with a most unfortunate
situation.
Letters
Rabid editorial creates hysteria
Your Oct. 3 editorial on Sun
columnist Doug Collins was guilty
of the same hysteria that typifies
Collins' rabid mouthings. If it has
any influence on him at all, it will
be only to heighten his already
exaggerated sense of importance. In
his column he will squeal with
delight at having riled the
"pinkos," thoroughly pleased at
having been noticed.
You have stated simplistically
and inaccurately, in true Collins
fashion, that patronage of the arts
died with the rise of capitalism and
the middle class. Somehow you
managed to neglect the Renaissance
and the entire concept of patronage
by the merchant classes, i.e. the
middle class of which the Medicis
were   but   one    example.    Their
patronage supported some of the
greatest artists of the day. Likewise
the Dutch masters flourished
during the time when Amsterdam
was the financial centre of Europe.
Even today the best artists, the ones
closest to being great, are supported
by sales to corporations and private
parties, and not government
subsidies, as opposed to the selling
of their work.
And what is the point of this?
The point of this is that these
approaches to art patronage not
only provide an alternative to the
present system of government
subsidies but also provide feedback
as to when the artist is producing
desirable work, as opposed to
works of temporary interest, e.g.
"mass" media, or works that
appeal to a limited group. The
result is a culture that is
representative of the people, instead of a small elite group of
Canada Council members.
This does not mean, however,
that the government should abolish
its support of the arts, but that
there should be more feedback
from the people supporting the
artists, i.e. the taxpayers. For too
many years we have searched
aimlessly for a national identity
because we had no direct control
over our culture, instead of letting
the government turn not only the
Canada Council, but the CBC and
the other cultural institutions in the
same spirit as a mother pushing
brussels sprouts ("but they're good
for you..."). A rat will not learn to
move a lever unless rewarded appropriately. Likewise, unless the
artists of Canada are given the
appropriate incentive to follow and
develop the Canadian esthetic by
the people, we will continue to
mimic the American culture, a
vivid example of a culture
.developed by the people as a whole
or at least a large fraction thereof.
Richard Bartrop
biopsychology 3
Thank you for the lesson in art
history. The examples given were
not meant to be the definitive list
of historical patrons but to serve as
examples only. As for the style of
the   editorial,   it   was   meant   to
parody Collins' style. — staff.
Wee Willy won't
Culture, unity by subtitles
The argument for English
subtitles on the French station was
not completely presented in last
week's article. Several issues must
be explained to achieve a balanced
argument. These specific issues:
Canadian unity, equitable
utilization of the French channel
and increased cultural exchange are
fundamental to understand the
argument.
It is an accepted fact that Canada
is facing a separation problem, and
as such the CRTC has justified, as a
representative of the federal
government, that all of Canada
must subsidize French television
stations throughout the country. As
it is now, only the French speaking
can understand whatever French-
Canadian viewpoints are being
expressed,   be   they   political   or
THE UBYSSEY
OCTOBER 13, 1978
Published Tuesdays, Thursdays and Fridays throughout the
university year by the Alma Mater Society of the University of
B.C. Editorial opinions are those of the staff and not of the
AMS or the university administration. Member, Canadian
University Press. The Ubyssey publishes Page Friday, a weekly commentary and review. The Ubyssey's editorial office is in
room 241K of the Student Union Building. Editorial departments, 228-2301; Advertising, 228-3977.
Editor: Mike Bocking
Emperor Miko Bockming looked in surprise upon the words of the prophet. "You are doomed to be
happy in marriage," it said. "I have no secrets," said vice-emperor Tieleming to waterboy Tom
Hawthorn. Warlord Gregory Strong brandished his sword, "Give me Lady Red Heather", he cried as
astonished court gentlemen Peter Stockland, Ted Collins, Dick Bale and Rick Creech looked on. But
Samurai warriors Glen Schaefer and Geof Wheelwright rushed in to save the fair maiden. Unfortunately for Robert Tyler it was too late. Castle guard Chris Gainor stepped in. "Send them to judge Marcus
Ming," he said. Ming was found lounging with courtmaidens Vicki Booth, mysterious Ingrid, Mary-
Anne Brunoro, Wendy Hunt and Holly Natlan. But the wise Fran MacMing, Julie Singright, Dave
Wing, Richard Sling and Peter Mingyang ruled from their high court perches. At the last moment
dashing Jeff Rintin broke in and carried off the blushing Lady. The court magicians Verne Macfing and
Steve Hing smiled enigmatically through the smoky air, "We reveal all," they whispered.
otherwise. I am not proposing to
change the content on the French
station, I am only proposing to put
that content to full use — educating
the people.
From an educational point of
view, English subtitles would
enable one to achieve a better
understanding of the French-
Canadian culture and the French
language.       " -.
In reference to J. Landry's,
(director of French services for the
French station in Vancouver)
statemept. that English subtitles
would be too expensive, it is obvious that he fails to recognize that
they would actually generate, not
forfeit money, through a
dramatically   increased   audience.
At this point, one could be inclined to argue that French subtitles
should be mandatory on our
English speaking channels.
However, the demand for this is
just not present, as there are only
30,000 French-speaking people in
British Columbia.
By combining these concepts;
Canadian unity, equitable
utilization of the French channel
and increased cultural exchange, it
is understandable that there is a
definite necessity to provide the
advantages that are associated with
this proposal for English subtitles
on the French station.
Marc M. St. Louis
arts 2
The graduate students of the
department of history would like to
draw the attention of the university
community to the following matter.
In response to a request from the
review committee, set up by the
dean of arts last term, the graduate
students met with the committee
and discussed at length the position
of graduate students within the
department. The number of
graduate students participating in
this meeting was indicative of the
widespread concern for the
necessity of change. For example,
we discussed professor/graduate
student working relationships, the
quality of reading courses and
funding.
Recently the graduate students
discovered that the report of the
review committee had been circulated among the faculty but was
being withheld from the graduate
student representatives. This
concerns us for the following
reasons: first, from what we have
heard the report   distorts in many
respects the submission made by
graduate students and we wish to
corroborate this. Second, as we
have been invited to participate in a
departmental discussion of the
report, it is imperative that we read
it.
We would like to make it clear
that the head of the department of
history, upon the recommendation
of the department faculty,
requested that the dean make copies
available to us. However dean Will
has refused this request, for reasons
which he has not seen fit to explain
to us. Graduate student enrollment
in the history department this year
has dropped, and we feel that the
suggestions contained in the
original submission made to the
review committee would help to
reverse this trend.
Paul Bailey
Elaine Bernard
Anna Green
history graduate student
representatives
'We're your AM$'
It's gratifying to see that the
Alma Mater Society has such great
trust for us, its members. I came
across an example of this trust
when I attempted to purchase a bus
pass today.
I say attempted, because I could
not produce $46 in cash or a certified cheque. I could give them a
personal cheque and show two
pieces of identification, which
seems to be satisfactory to the
university and most businesses out
there in the cruel world. But no, the
AMS, to which I have belonged for
more years than I can remember,
requires a cheque stamped and
certified at my bank.
In other words, it would have
been easier to produce the necessary
sum in Deutsche Marks. And if the
AMS was really worried that
nefarious cheque writers might rip
it off, they could always make sure
the cheques won't bounce during
the two or three days it takes to
prepare the bus passes after the
money is paid. This silly piece of
bureaucratic arrogance should be
halted immediately by the society
which proclaims: "We're your
AMS."
Nick Dixon
arts 4 PAGE FRIDAY
THEATRE THEME ISSUE 4.4 i   •-/-i-» ■'/; .<
{theatre
e issue
■^WfeWiW^'A
<mtf*   '*■ '?'
Ryan Styles hunches oyer a micpphbne
on a stage of postage .stamp proportions.
"Ladies and gentlemen.'-we've got a'special
guest tonight. He's come all the way up from
California and it's a real privilege to have
him.'V-. His  arm  extends,   Johnny  Carsonf
- style, iri greeting. - "./.■"■        '"■- ,- '■■- ■ -   .-.-■-
"Punchlines"     :.;■'..'-';' .■   :""■■:'.■.
QET basement          y ■;'■                ■> -
Thursday; Friday and    -       '.. •. - ■.'"•' V;
SqMrdayi 9:0Cf-'pim.         ~. -      -.'*'. ,".;'.
Admission $1.00   ■::~ -.-' '!" ,- ~        :       \---
$lj50:weekerids . . (■•"; ;-.;'_■■   :- •;. '      -<.„'
y"Would'ybu please welcome the star of
America Tonight,. Mr. Martin 'Mull!"''
Hesitant applause and gasps qf surprise. The,
spotlight is empty for perhaps ten seconds.-
Finally. Styles slinks, back onstage with a
sheepish grin. "Uh, had you fooled there for
a minute, eh?" Such is Punchliries'Comedy
Club: no stirs but lots of surprises.■"" : .'
Prepare" for; your-biggest surprise at the
.beginning of the evening. Punchlines neither.
lpoks-nor acts like a regular cltib. Tucked
away in.an obscure corner in the basement of
the Queen Elizabeth Theatre, it could easily
be a Kinsmen banquet hall. There are long
cafeteria tables flanked - by auditorium
chairs* linoleum floor, and a commanding
- view of the wheels of passing buses. Hardly
the Copacabana. The room is a converted'
conference hail,, and the bland institutional\
- look isn't' easily disguised.    . .< '
But don't let appearances, deceive. Nothing:
detracts from the action onstage. Styles is
just one member of an army of amateur'
stand-up comics, all trying' hard to_keep.ypu
, amused in a two hour onslaught of non-stop
jokes,   impersonations,   songs,   and   spontaneous humour. And all for only one dollar.
Punchlines is a hot property..After only a;
. few short months as Vancouver's first full- -
blown comedy club* it's breaking loose all
..alonein-a market ho one.knewexisted^,And
. -it's  impressing enough people i to capture
national and even internatibnal-exposurei. A.
flattering   write-up   appeared   recently   in>'
Chatelaine', and KCTS TV is planning an
hour-long special on Vancouver's new entertainment "monster." • r      .'
The man holding the reins of the monster
is Richard Elwbod, a 24 year, old Toronto ■
transplant., who   runs   his .own**- comedy-
'.promotion - company and is himself a.
comedian. Elwood lias strong feelings about,
contemporary comedy. "■•--.
"Young people here are generally hard up;
for a laugh. Like, the '60's were so fucking
serious. People are really getting pissed off
with the way things are going how. Comedy's
almost like Valium! You carf.take.it in crazy-
doses. It's gonna be the rock and roll of the
•'80's."   ■   '-.  ■ -■-•'. - :-
* Comedy comes easily to Elwood. He grew
up in.'-a family where, "one linerst were
cracked* around, the   dinner, table".   His
.father, involved with the~ entertainment
business - himself-'at ..-CBC, • bought little
Richard a copy of Bill Cosby's ^classic "go
kart" comedy, album, and the love ^affair
began., - :■'_/. :  ,   ■ ■     :
.,. At eighteen he-worked at the. infamous
Starvin' Marvin's; doing routines. between
strip :shows. ^ow a full time comedian; he
. rounds out his income-writing material for
shows  such fas   Rene  Simard  and   Allen
■ Hammill.'' •;, .'.'_" .-'.,'" \ ,
; The concept of a comedy club had always
been at the back of Richard's mind. The idea
itself is far from new. Toronto's Yuk Yuk\
L.A.'s Comedy Store .and San- Frahsisco's
•Boarding "House have all- been operating -
successfully for years. But the working
environment is radically different, in Vancouver> far as it, is from the entertainment
mainstream,. How " and   why   did ^Elwood
»succeed?. : .    '■ ,"~ »■
"It's an intricate.business. You have to
know the mechanics. The premise behind
Punchlines is simply this: it's designed to
create" a comedy business in Vancouver.-We
provide a needed ippening for aspiring
amateurs.-Also,' fo be a success, you have to
keep tlfe quality of" the material high. No
'- mother-in-law jokes, everybody's done
those."' -V  . v " ;        -J
Comedy, says Elwood,. must playyto a
completely • attuned    and    sympathetic
^audience. It can't be-combined piecemeal,
with anything else as part of a grand' en-.
tertainmeht package. A lot of Punchline's
comedians are frustrated, veterans of NeW
Westminster's Zodia Cabaret, where they
played ^shOrt betweenrset. routines to an
unreceptive, predominately rbck:oriented
audience.'
"Music -audiences are like '... uuunn-
rihhh!"* Elwood" pulls a grotesque face.
"They fibn't want to hear comedians. They
•swanna dance."   ;        ".-''/-..
Punchlines audiences are mostly young;
"Most of, them are closet comedians
themselves" says. Elwood. The quality of the
comedy varies. That, of course, is part of the",
fun. Each show consists of about half a
dozea'acts, two or three to.a set, with the
"maihiiner" occupying the final set.   •
^ Tfoe mainliner could be~ "anyone who's
- hot.,We try to rotate it evenly so everyone
gets the spot/Comedians can get on*a 'roll''
' that lastsa! few weeks."
Two weeks ajgb Jerry Owens was^definitely
on a "roll". His imitations and mindless
ballads.had the audience in stitches. The
humor is basic but the delivery and style are
*
»*     .„             4,
€
JL f *-r      -%  * |
*
^ "» -   #. s *
fc'jt-**      «*A
^   »j*    ' **.)«
1
if**- *J1
ELWOOD ... comedians in Vancouver are just gaining recognition
—murray helmer photo
perfect. He brought us Jinmiy.Stewart as a
shoe salesman:        " ^' ,'
"Wha'-.. wha .. what kind of shoe dp ybu|'
uh, do you want?" and Ed, Sullivan ais. a
customer: ,'.-.    -   .•   v^-.' r
"WeU, I'd like a'really bigshoe:...-"/;
. The key to-Punchlines success is' its'laid-
• back,;almost coffeehouse atmpspherel.TJhiere
are just as many bad comics as good ones,.
; yet no routines fall completely flat. Aiidience
participation is encouraged,, and hecklers are
always   ready   to   provide   an   interesting
moriologiie worked but from a revue I was
in. ■I'm "part of a satireVgrbup as well ...
Fromage: pf .Cheese." "
A student from the University of
Wisconsin, he did some graduate work at
BUC before settling into his comedy niche.
"Why do I work at Punchlines?. Because the
only other place a comedian can.work in this
province is the Legislature in Victoria."
v Elwood likes to maintain a distinctly local
flavor in the routines. Jokes about Andre
Molnar hbmes^B.C. Hydro, and Bill Bennett
cpuhterppinfto the cbmedian's monologue,..^ abpuhdiBut,more importantly,--'helooks for
"There are a lot of closet comedians in
the audience", admits Elwbod. In fact?
that's where a lot of-them come from. "I'll
try anybody who wants to do it^We'll fap for
a couple of minutes. Then a quick screening
session, just to see that there's no>'why .did
the chicken cross^ the road' stuff. First time
on, I let them do Tive to eight minutes. There
are quite a few one-timers, maybe thirty per
cent."       .       - .■    "'" '•'.'•'":
The comedians' personalities are as diverse
as their routines. Colin.Campbell watched
the show one week and "saw some guys that
really stunk. I mean, some of them really
bombed. I thought I could do better than
them." v   _ ;.. '.'[.-:
David Schlindinger has a slouchy,
scarecrow appearance and a deadpan style
reminiscent' of Jack Benny. David got involved at,the beginning, "When it;started,-I
read it was happening'in-the paper. I Had.a
■originality."
--. "I don't.want any Steve Martin imitators.
Don't get me wrong. Martin is largely
resporisible for the rebirth of comedy in the
late'70's^ But" he*s a gimmick. It's easy to
change the words of a song "and be funny as
hell. We used todo it around the campfire.
Bit it's not original.
Punchlines success, of course, means
expansion. A Wednesday show will be added
to the 9:00 p.m. performances on Thursday,'
Friday, and Saturday, and the weekends will
include a midnight show as well "for the
disco crowd". Another sign of success: a new
and better location. Elwood would reveal
little, saying only;that it would be "more „
theatrical". Hopefully not more expensive.
•' You can hear, the Punchline's troupe,
courtesy of Roy Hennessey, on LG FM from
11:30 to midnight _on ahyV Saturday when
NBC's .Saturday Night Live is off the'air:
Play bares South African controversy
K> < \KOI KI.AI)
I ifl* in iKiii'-irihecl into iticairc in
Mij.iio ii-'-, I'hi: Uiko Inqin."-!, .i
luo tioi'.i Iimic abhiL'viaiiou ol ihi-
■ hirfivn-dji inquest which wai
liuld hi Soiiiti \\tk.i in NovcmK'i,
IV~ I Ik pl.iv hiiiitiMt nl noihiii;',
tiV-c bu' ihe i\i)iiK >pokcn in ihe in
qiiii\ .ind iIn: ducjloi. '\nmn>
Holland, makes no at tempi to use
Afnkd.irs iKk.fjii'.. iheairiCLi!
iij'h'inv, oi make ii|> io ;ii:e [Ik- .!■.
uns. liikii i-. mil a pla>, it is a tiaiK'il
u'aJniL'
i ■
"The Hik> Inquest."
Dirwti'ri by Antony Holland,
Studio SS October J to 14
at I'HC and SL'li Auditorium
October is.
Ii ii whai llioatR' ciiiK- Martin
Es.sliii dciciibcs .1^ .1 piopagandd
picic. Its puipoic is to nuikL' a
political point, not gieat rheairu.
W^iilc ihi.1- ivpe ol production is effective, it rarely out-lives it« political
usel'iiliK'^t. Biki> piotiuhts will uol.
riK- nio^t shocking aspevr of
lisicninj.' to I he Uiko Inquest i«. ihai
i he cum rroom scene onsia^c w.:>
enjered only elcscn nionihi jl'o in
r.'iiliiy, and that iiiko dud (in!\ m
Scpicrnhei "77. Aic iliine people
ical'.' lheiloppv cover up of Iliku'-
imsr rem incur, ihe obvious imism oi
nicisi of the witnesses, und the uidit-
fcrence to lu.stice jic more vis id m a
then i e than in it ucnspapci
The most unbelievable chara.-ier
in Colonel (ino'-cn, played by dens
Nairn Ciooseu U',noreiJ two doe-
tois' lecoiTuiiendations that the ill
Uiko ^o io a hospital. Instead, he
insisted that Biko go on a 750 iinle
journey bj I.aijdrover from I'on
I-'li/abeih to Preroria. Uiko had
been injured on the head, and he
was in a seini-cuma and sufleriiij.;
brain djrilage. The colonel warned
everyone that Biko had siudicd loin
years of medicine and was taking.
The doclois arc not much more
caiing.  Doctor  Lang,  played by
Kiihcn Metenlle, abandoned hi«."
medicai ethici so he would not have
io oppose the >ccuri(y polite He
made no ipcnlinn ol Biko'-. head
and lip injurs, and did noi bother io
lind oin why Biko could no! speak
coheremls. If Biko hud lived,
I aria's lepuii would have denied
ans claim-, [hat Biko uus injuicd b>
ihe police; his wounds weie noi
recorded.
1 he tor oners aKo show cowai
dice. Hiko's brain showed evidence
thai his head was hit very heavily,
oi knocked against a •ironc wall
wiih {jreac force. Since the official
siorv was that Biko flew into a rape
and required five men fo subdue
him, ihe injury could have been attributed to the fight. Yci the coi-
oncis launched the iheor> thai the
wound was self-inflicted.
The coroners' theories are not
loo plausible, bccau.se at the time ol
his injury, Biko was lying in leg
irons and handcuffs. lie wns on a
mat, wiih a stone wall behind him
arid lo the right nl him. He was too
neai the floor and ihe wall to hit Ins
head with-enough loice. Besides,
ihe iniLir> on his head wa.i on the
let I side, where (here was no wall
Ihe summation speeches and die
ludgeincnt show the futility of the
viuust. The veiJiei was predestined.
I tic prosceuloi. Prms as pla>ed b>
Farl Kleins shows the lies and
covei-ups of the limp line ol
witnesses, bui he ncvci has cnoui'li
proof. The main witness is dead.
The del cuce lavs yer. Von I ieres
plaved by Doug McQueen gives a
weak .speech, but he has South
\frican r radii ion on his side.
While there is little' argument
about whethei this son of justice
should be revealed, there L> a problem over how it should be shown.
A two-hour condensed version of a
lhirieen-day trial make* a dramatic
inquest. The verdict was
accurate. There are about twelve
days and four hours missing.
Can we believe that the material
selected is a sample of .ill lli.it went
on in the -'nun room lusi year'.' Was
the prosecution nevei winng? We
are shown oulv a version of sood
versus bad. ctiliqlitenmcni vcisus
prosecuiinr. lawvei is almost einbar-
iassinp.lv hied with moral
righteousness, vet his eluuacler has
no complexly
What weiu on in the courtroom
last year was shocking, but [he
tragedy of it cannot be expressed in
a Reader's Oigcsi-like condensed
version. A play such u> Ihe Biko Inquest serves only to show people a
small portion of a icality.
It is not a complete portrait of
what South Aftica is like. If we do
not know about South Alrica. we
can not find out much in two hour.s.
The story of Stephen Biko is a
tragedy, but lor a traecdy lo be
acted on stage, real characters are
needed. Thcie must be complete
people, not political-poster
caricatures. We need io be shown
why the wrong ones act as they do.
Page Friday/2
♦T-fr'Eiv'U BYSSEY
■ Friday/ October-13,-1978 theatre theme issue
New Play Centre encourages talent
By DICK BALE
Ten years ago Vancouver theatre
was an ill-clad and impoverished
wretch wandering aimlessly with
only two or three outlets for what
seemed a meagre talent. Now she
confidently struts and frets her hour
upon the stage, dressed out in furs
and finery, in many, and varied
manifestations across the city. But
of all the companies and organizations that abound, the one most interesting, the one most innovative
and the one most dedicated to the
emerging Canadian theatre is the
New Play Centre.
In a land where imported culture
is eagerly devoured but the
homegrown product tends to be ignored or even sadly sneered at, the
New Play Centre has been
courageously working at the grassroots level encouraging new Canadian playwrights to produce a series
of impressive dramas.
Taking the premise that you have
to write plays before you can perform them and that beginning
writers need /all the constructive
criticism and encouragement that
they can get, the Centre reads all
scripts submitted to them, evaluates
them, and gives the best of them
readings or workshops.
In its eight years of existence over
800 plays have been given written
critiques, over 150 have been
workshopped. Currently, about
two or three a year are produced. In
the last year or so, all of these productions have been highly acclaimed.
These include Betty Lambert's
Sqrieux-de-Dieu, Richard Ouzou-
. nian's British Properties, Tom
Cone's Herringbone and Stargazing, Joe Wiesenfeld's Jack Spratt,
Sheldon Rosen's Ned and Jack and,
currently playing at the Vancouver
East Cultural Centre, Tom
Walmsley's Something Red.
For some time now, the New Play
Centre has been hoping to move
into the Waterfront Theatre along
with Carousel Children's Theatre
and Westcoast Actors. Housed in
the hopefully soon-to-be-renovated
Plastex building on an increasingly
chic Granville Island, the complex
will house both a 240- and a
350-seat theatre as well as have an
outdoor stage for warm summer
nights.
Also in the complex will be
rehearsal   halls,   dressing   rooms,
space for set, prop and costume
storage, offices, a conference room,
and a central lobby and display
area. A veritable Seventh Heaven
indeed, but one whose opening date
is being constantly pushed back in
the face of financial difficulties, a
problem which in these days of
restraint may prove to be an insuperable one.
The New Play Centre, along with
Westcoast, Carousel and the
BCDA, currently resides in
cramped offices at Fourth and
Pine, just on the right as you swoop
down off the Granville Bridge into
Kitsilano.
It was here that PF talked to Pam
Hawthorn, the diminutive but
energetic Managing Director of the
New Play Centre. A former student
and instructor herself in the Theatre
Department at. UBC, she obviously
believes in and cares for the future
of theatre on the West Coast.
PF: Maybe you could start off
just by saying something about the
history of the New Play Centre.
NPC: Right. The New Play Centre was formed in May of 1970 by
two people who work at UBC,
Doug Bankson, who is the head of
the Creative Writing Department,
and a woman named Sheila Neville
who is in the Reserve Library.
Basically the idea is that it would be
a developmental service for people
in the province who are trying to
write plays and couldn't get any
feedback on their material. There
was no way that they could get
theatre people, except out of the
goodness of their individual hearts,
to look at the material and give
them some critical appraisal of it.
PF: Have you over the years
tended to gather around you a
group of playwrights who kept
coming back?
NPC: Oh, very definitely. For the
last couple of years through the
mail from writers we haven't ever
worked with we've averaged around
ninety scripts, completely unsolicited. These plays are the ones
we send out to readers in an attempt
to find potential plays and go on
from there.
On top of that, this past season,
we worked on anything from twenty to thirty scripts.
PF: How many of these would
get workshopped?
NPC: We're workshopping
twenty-five plays a year right now
and we're producing three to five.
—pater menyasz pnoto
HAWTHORNE ... Vancouver is where playwrights can congregate
NEW PLAY CENTRE
PF: Do you make any money on
productions like Something Red?
NPC: (laughter.) Well, no. In
essence you're doing extremely well
if you can make 25 to 30 per cent of
the cost of the production through
ticket sales.
PF: Are you disappointed that
audiences don't respond any better?
NPC: Yeah, I am. I have to admit. I think it's our fault as much as
theirs. We have almost since the
beginning — since we first started
to do shows, which was 1972 - had
quite a strong, steady audience but
we have not been able to make that
audience grow significantly over six
years. I can't figure that out.
I mean, the shows are infinitely
better than they were when we first
started
PF: How do you feel about
something like the Playhouse New
Series, where they're pushing some
new Canadian plays?
NPC: The major regional
theatres should be producing some
Canadian work. I think on the
average they should be doing more.
One of the reasons for the Second
Stages of most of the regional
theatres has been to promote the
Canadian play. I think if you look
at their records you'll discover
they're not doing that very well.
PF: Who do you get your funding from?
NPC: Federal, provincial, city
government and private foundations.
PF: Have you been affected by
the federal government cutbacks at
all?
NPC: We have not. As a matter
of fact, the Canada Council, except
in a very minor way, has not been
effected, so although most companies have been in a fiscal freeze
for the last couple of years, it looks
as if they'll also continue on that
for the next couple. Although the
Canada Council hasn't been cut,
they haven't been given cost-of-
living increases, so ultimately the
companies are receiving less money.
PF: What kind of differences will
the move to Granville Island make
for the New Play Centre?
NPC: I'm hoping it will do at
least two things. I'm hoping it'll
give us a home, with the other two
companies involved, where we can
start building an image which I
hope will increase our audiences. I
think the relation of a company to a
physical space probably helps in audience growth.
The other thing is more public
• _*•       '*»      -3
~'    -   *«* .
.. waiting for federal funds before
readings and studio workshops
because there will be a litle more
free time in the building that we
could use, whereas right now we're
stuck in a situation where there are
no theatres available to us.
One of the things we're going
to try to do if we can find a theatre
to do it in is to try a new program
called Studio Productions which
would be a step between readings
and full studio productions, which
are very costly now. Essentially,
these would be stood up, blocked,
lines-learned productions but with
no production values — no sets, no
costumes, no props or anything of
that nature. This will be a considerable saving to us in capital
overhead and it will enable us to get
more new plays up in front of an
audience . . . hopefully by writers
who haven't had anything produced
yet.
PF^ How's the funding situation
for the move down there?
NPC: Very bleak. Exceedingly
bleak. The federal government cutbacks have effected the capital program at the Secretary of State's Office. It looks as if it'll be difficult
for us to get the money for our conversion at the federal level. So we're
talking with the Granville Island
Trust about possible temporary
solutions.
PF: Do you have a date that you
hope to be open by?
NPC: If we could get a go-ahead
from someone, we figure we could
be open just after Christmas, but
probably anything reasonable
would be sometime in the spring.
Or, if somebody doesn't make up
their mind soon, never.
PF: Why do you think Vancouver theatre has expanded, so
much in the last say, fifteen years,
and where do you think it might be
going?
NPC: Well I think it's expanded
because of the government's Winter
Works and Summer Works program. Practically all the companies
which have emerged in the last ten
years began on those kind of federal
grants.
The only ones that I'm aware of
that didn't are the Playhouse, the
Arts Club and the New Play Centre.
Every other company, City Stage,
Tamahnous, Carousel and Green
Thumb were originally either
Winter Works, LIP or OFY. And
that incredible funding those first
few years that went into the arts
started all these companies.
And slowly, as they came off
-T*V
—jetf george photo
grande opening
these grants, they started to find
other revenues. I think it's a very
obvious reason that it happened,
this tremendous input of money into the arts between 1970 and
1975 . . . Now, as to where it's going, I don't know . . .
PF: I get the impression the next
few years will be a period of consolidation.
NPC: Yes, I agree. I think the
days of expansion are definitely
over, I mean, for the time being. I
think it will be consolidation. There
may be some loss, I don't know.
I kind of believe in cycles, and
Vancouver has been on top of a
very good one the last two, maybe
even three years. I kind of wonder if
we might not be headed for one of
the downer periods. In Tom Cone's
play Herringbone, the line that says
"culture does real i well in hard
times," I'm not so sure that's true
daughter) . . .
PF: Do you look on the universities as being a large potential
source of theatre-goers?
NPC: I've always been a little bit
intrigued by the difficulty the New
Play Centre and other more experimental companies seem to have
in drawing on those enormous student audiences that ought to be
there at UBC and SFU and getting
them off campus and into the
theatre.
PF: Maybe it would be better if
the universities weren't stuck away
behind forests and on top of mountains ...
NPC: Well I sometimes wonder
if, especially in the English Department and the Theatre Department
and the Writing Department,
maybe even philosophy for all I
know . . . that maybe there should
be a little more interest in trying to
put the tentacles out a little bit more
into the community in terms of
what people are doing now.
PF: Do you ever think something
sophisticated like theatre is
anachronistic in a supposedly frontier province like B.C.?
NPC: Oh I don't know . . . That
may be to a certain extent why the
arts have some difficulty here, yet
music in Vancouver has never had
any difficulty. The VSO has always
been highly attended and highly
visible in Vancouver. The same also
goes for the big dance companies.
Theatre has always seemed to come
up in third place. I don't know why.
Having seen a lot of theatre in
North America myself, and this
turn to PF 9
friday,, October. 13, ,1978
THE      U BYSSIY
Page Friday, 3 theatre theme issue\
Axis   Mime   'show   stealers'
-peter menyasz photo
By THEO COLLINS
"Putting together a production," said Michael Taylor, "is
similar to Michelangelo sculpting
an elephant. You start with a block
of marble and chip away everything
that isn't elephant."	
"Hotsy Totsy"
Starring Axis Mime Theatre
and the Dumptrucks
Direction, music and script
by Brian Richmond,
the Dumptrucks and
Dennis Foon	
At Spratt's Ark until October 21st
Michael Taylor, cropped and
groomed for his part in his present
production, is the image of a
prohibition era gangster. He is one
the stars in Hotsy Totsy, a mime
musical playing now at Spratt's Ark
on Richards Street. He is also a
member of the Dumptrucks, who
provide music for the show. The
Axis Mime Theatre, who also star,
provide mime.
The materials an artist works
with contribute to the shape and
character of the final work. They
are an integral part of the artistic
process. Michael Taylor and several
others were involved in creating
Hotsy Totsy. They worked with the
materials before them, but these
materials were quarried from the
past.
Back in the days of vaudeville,
there was a dancer. Her name was
Margaret Severn, and she danced
classical bailed.
Vaudeville was big money then.
The theatres were large. At the
height of the era, the audiences
filled them. At fifty cents a seat,
five shows a day, the theatre owners
could pay their top acts $20,000 a
week.
Margaret the dancer was
sometimes out of money. Ballet was
not as popular, could not pay as
well or employ her as consistently
as vaudeville. So sometimes she had
to do vaudeville, performing
masked dance numbers in order to
support herself.
It was a hard and hard-nosed
business. The lesser acts worked
five shows a day. The stars eased
along at three. To survive, you
needed stamina, but you also
needed to please thousands of
people a show, show after show.
There wasn't room in the opinions
of the impressarios for the subtleties or esoterica of classical
ballet.
So Margaret the dancer's stays
on the vaudeville circuit were
always short. When she had earned
the money when needed, she
departed. There was only one other
thing she took away with her from
vaudeville: an interest in masks.
The era ended. Vaudeville died
with the Depression, became as
obsolete as arm garters, player
pianos and Model A's. Time passed
and Margaret Severn continued to
collect masks.
Then in 1977 she saw a mime
troupe, the Axis Mime Theatre,
performing Dwelling, a collection
of vignettes done in masks. She sent
them a postcard and they came and
visited her. She showed them her
masks and explained how she came
to be collecting them.
We come to 1978. The Axis
Mime troupe were trying to develop
some new material. Two members,
Wayne Specht and Gordon White
came up with an idea for vignette.
The idea concerned two
vaudeville performers who have
been together for twenty to thirty
years and despise each other. The
action occurs in the dressing room.
The two performers have been
together so long they no longer
have to talk. Their mutual disgust is
conveyed simply in the way they
move, the way they put on their
makeup. It's an ideal situation for
mime. Wayne and Gordon went to
the other members of the troupe to
ask them what they thought of it.
Now by coincidence, two others
in the troupe happened to be
working on a vaudeville skit,
Elizabeth Murray-Byers and
another member who has since left.
But their skit was to be an actual
vaudeville act. Since the ideas of
both parties complemented each
other so well, they decided to take
advantage of coincidence and
combine them into a longer skit.
They all began working on it, and
new ideas kept coming and the
concept growing, until it was apparent to them that they had an
idea for an entire show. It was time
to call in assistance.
It was now February. They asked
Brian Richmond to direct them and
Dennis Foon to write a script. Brian
Richmond had directed them in
Dwelling. Dennis Foon was the
artistic director of the Vancouver
Green Thumb Players, and the
Players and Axis Mime had co-
produced Heracles, a children's
play.
They started trying to put
something together under the
working title of The Death of
Vaudeville. Their idea was to set the
action at the time when vaudeville
was dying.
Brian Richmond contacted the
musical group The Dumptrucks and
asked them whether they wanted to
do the music. He had worked with
them before in the production
Cruel Tears, and their music had a
ragtime feeling to it that would be
appropriate for the show. The
Dumptrucks liked the idea,
and agreed to do it.
The work continued, with an
interruption in May and June when
Axis Mime found themselves in
financial difficulties. It resumed in
July, but there was still a problem.
They still didn't have a clear idea of
a plot. They didn't find a plot until
they introduced Dennis Foon to
Margaret Severn. They referred him
to her as an expert on vaudeville.
Dennis Foon went to talk to her,
and he was not far into his conversation before he realized that
Margaret Severn didn't consider
herself a vaudevillian at all. She was
a classical ballet dancer. She had
hated vaudeville. It was an ugly,
awful, vulgar place. Her stays on
the circuit had always been as brief
as possible.
Dennis Foon went away
disappointed. It was not until later
that he realized that he now had a
plot: a story about a dancer forced
to go on vaudeville against her will.
When he realized what he had,
Dennis quickly wrote up an outline.
Then he and Brian Richmond went
to Saskatchewan to contact the
Dumptrucks. They found them in
Bradwell, but the Dumptrucks were
on the road so they had to chase
them for two or three weeks before
they finally came to a halt in
Canmoore.
They worked for a while there on
the music, then proceeded on to the
Banff Playwrights' Colony where
they did a further two weeks work.
They finally made it back to
Vancouver. There they were
allowed to use the facilities of the
New Play Centre for a week.
In the meantime Dennis Foon's
ideas went through several
evolutions. He didn't work alone
on the script. He received many
suggestions and ideas from the
members of the Dumptrucks and
from Brian Richmond, all of whom
share credit for authorship. And
the interaction between song and
"script also   caused changes.
When he went to Saskatchewan,
Dennis had several song ideas of his
own, not only lyrics but music, and
these were made use of. These
songs he had some editorial control
over. But the songs written by the
Dumptrucks, although written to
conform to the script, could not be
expected to work precisely as they
were imagined. They always had a
slightly different tone, and the
script had to be adjusted accordingly.
There were other factors contributing to change. Said Michael
Taylor of the Dumptrucks: 'When
the original play was being put
together in Canmoore, the stage
was an awful long ways away. You
never know what something's going
Canadian theatre needs to find its audience
By WENDY HUNT
What makes theatre Canadian?
Is it having everyone from the
playwright to the stagehand bear
the brand of the maple leaf?
The efforts of theatre people to
develop a strong base of expertise
and creativity cannot be
underestimated. No longer is it
necessary for young artists to go
abroad to acquire experience.
High quality work is being produced here by people of talent and
insight.
Yet when was the last time you
heard of someone leaving a
theatre who felt touched as a
Canadian?
We do need more playwrights
able to express the hopes and fears
of our country and to show we've
been shaped as a people. But is
that enough?' Is it possible to set
out   to  make  Canadian  theatre
"Canadian?"
Theatre has a short history in
Canada. Stratford, Ontario is the
grand-daddy of Canadian theatre.
All the same we can expect it to be
mature and exude something dif
ferent which will stamp it as Canadian. It should have character.
"The British theatre has
character, why can't ours?" we
cry.
But British theatre has had a
long   tradition   stretching   back
from the miracle plays of the middle ages to today's anthill of activity in the West End of London.
One thing stands out about
British theatre. It has always
received popular support.
Canadian theatre to be truly
Canadian needs Canadians. That
means you and me in the audience. The most amazing thing
about theatre is it doesn't stop at
the footlights. It follows everyone
in the house. Everyone is part of
and contributes to the performance. Theatre capital needs audience participation and criticism.
This interaction is the lifeblood of
theatre and will shape its
character, its Canadianism.
Being rooted in the Canadian
people will also give theatre
strength. If outside cultural
sources are cut off, it will continue
to flourish in the Canadian consciousness.
So, if we can't describe it, how
will we know when we've got this
Canadianism? We'll feel it.
That spark of recognition as to
who we are as individuals and as a
nation. Truth never lasts so long
and occurs so infrequently.
Canadian theatre is growing
from its childhood to an identity
crisis of adolesence.
Its character cannot yet be
defined, although this new theatre
has the audacity to say it will not
be an imitator of British counterparts.
This identity crisis will only be
resolved with audience participation. Theatre and the Canadian
consciousness must mesh or our
theatre will be a theatre without a
country and without a people.
Page Friday. 4
THE      UBYSSEY
Friday, October 13, 1978 [theatre theme issue
Hotsy Totsy revives vaudevillian
to look like until you do it. And you
have to know other people's
capabilities, whether they can do
what you're asking them to do, or
whether it can be done at all. There
are a lot of things we had to scrap.''
Most of the songs for the show
were worked out on a guitar, but in
the show, as in the vaudeville era,
the main instrument is the piano.
Playing the same song on a different instrument tends to alter its
mood. This further altered the
script.
To all of the above must be
added the effect of simple trimming, the chipping away of stone to
reveal the elephant. Hotsy Totsy
was worked out at first in individual scenes, and the scenes were
rehearsed separately and out of
sequence.
When the director, the cast and
the writer felt that they had
adequately prepared the material
for the first act, they did a run
through. It taok them two hours,
longer than the entire present
production. The first act has since
been trimmed by at least an hour.
Finally, room must be left for
inspiration. The Dumptrucks have
a song in their regular repertoire
called Grab That Snake which
appealed to Brian Richmond, so he
decided to incorporate it somehow
into the show. The result was an
outrageous skit with an ape and a
canary, one of the funniest, most
successful scenes in the production.
Yet it didn't exist at all in the
original script.
Right to the end, changes were
being made. Between dress
rehearsal and opening night,  two
pages of dialogue were added,
certain scene changes were cut,
other scenes were trimmed. Because
it's a new production, you can
expect changes to continue.
I've been talking about the script,
but adjustments had to be made
elsewhere too, with the performers.
When the show was conceived, the
idea was to blend mime and music.
But for this blending to be total, it
was necessary for the Dumptrucks
to learn to act, so they could be part
of the action on the stage and not
separated like an orchestra.
Neither had the Dumptrucks
ever performed with a piano accompaniment before, so they had
to learn that. The piano player,
Simon Webb, was used to playing
only pop or classical music. He had
to learn a special kind of playing,
stride piano, just for the show.
The show involves a great deal of
dancing. The Axis Mime troupe
had to learn how to dance in six
weeks. They are not yet great
dancers, but their dance teacher
was amazed at how quickly they
learned.
One of the Axis Mime troupe,
Elizabeth Murray-Byers, had to
learn to tightrope walk. Again, she
couldn't join a circus but the scenes
she uses her new talent in are
amusing.
Aside from what I have mentioned, what went into this
production was much like what
goes into most others. There are
weeks of intensive rehearsal,
sometimes for eighteen hours a day.
A person can get lost in a character.
Elizabeth Murray-Byers said: "I
HOTSY TOTSY ... Axis Mime players find vaudeville tradition
play the part of a coquette in this
production. After living with the
part for a while, it started to rub off
on me. I began to get twice as many
wolf whistles when I walk down the
street as before."
In the rehearsals, as opening
night approaches, there is a gradual
buildup of energy. This is the goal,
the place everyone is aiming for;
When opening night comes, all this
energy is let off. The tendency then
is to relax, but you can't because
there is always the night after, and
the night after that. A production is
a continuing process.
And what did all this come to?
What is Hotsy Totsy after all?
Well, it's not the.story of the death
of vaudeville. The action is
ostensibly set in 1929 when
vaudeville actually did die, but
nothing in the script indicates this.
It's not quite the story of
Margaret Severn, but it does
concern a dancer who goes on
vaudeville and experiences all its
tawdriness, and it has something to
do with artistic integrity.
But when you come down to it,
Hotsy Totsy is not a drama at all,
it's an entertainment, a delightful
collection of music and mime.
There are poetic moments and
hilarious moments, and you're
likely to leave the theatre feeling
good.
By all means, catch the ape and
canary number, or toe tap a little
with Back in the Bosom, or ride
along on the Vaudeville Life R.R.
A splendid time is guaranteed
New Play rivets critics
By DICK BALE
Here in Something Red, we have a funny
and very grim piece of theatre, as riveting
and as superbly acted as any to burst upon
Vancouver stage. The funny thing is that you
recognize these people from the bar and from
when you worked in the bush and, yes, that
girl was in your history class at university.
One couple, Alex and Elizabeth, live
upstairs in an apartment decorated with
Picasso prints and hanring plants. Alex had
been drifting meaninglessly until he found
Elizabeth. At last he got down to writing that
novel
But Elizabeth, an academic, is suffering
one of those familiar identity crises, in which
it all seems so irrelevant and dull. The
elements that had attracted her to Alex are
precisely those that he has rejected and
SOMETHING RED ... pent-up anger
abandoned. Hence, things are not going as
well as they might.
The other couple, Bobby and Christie.are
more, well, earthy. Also rather more
complex. They inhabit the lower apartment,
furnished in that late-Dairyland milkcrate
and arborite table style you know so well.
Christine, the only completely sympathetic
figure, is mothering chronic loser Bobby, not
realizing that chronic losers always screw up
yet once more.
Bobby is a raw-boned, impulsive, self-
destructive and paranoid criminal. He is also
the most charismatic figure, largely because
he is the most neurotic and treading close to
the edge of losing control.
On the run from the police, his family, his
enemies on the street, he responds to life's
frustrations either through laughter, through
retreat into an alcoholic daze, or through
savage violence. All too frequently it is the
latter.
To complicate things further, Bobby and
Alex are old partners from their down and
out street days, from their ripping-off-
welfare days, from their dope-dealing, hitchhiking and drunken ride off into the sunset
days. But whereas Bobby looks back on these
times as a golden age, Alex clings to his
respectability.
All the relationships and emotions are
fully explored, the latent homosexuality of
the all-male bullshit bar scene, the trans
-formation of pent-up working-class anger
into meaningless violence and sex disguised
as love, the vision of people in the modern
world with desires for money or success or
adventure or just to be left alone, frustrated
by themselves, their past actions, and what
the world demands.
Of course, the entire play is not perfect.
The first act is, but the second unfortunately
does not quite match its tension and
dynamism. But after all, this is a new play,
one that the New Play Centre has only just
finished workshopping. It is not yet completely evolved. But it's relevant. It's a play
about people you know.
v  i<
yrr if'
HE'S* tf.tr fcr
SIR LEW GRADE Presents
A PRODUCER CIRCLE PRODUCTION
GREGORY LAURENCE
PECK      and    OLIVIER
JAMES
MASON
A FRANKLIN J. SCHAFFNER FILM
THE
BOYS
FROM
BRAZIL
if they survive...will we?
and starring LILLI PALMER
"THE BOYS FROM BRAZIL" Executive Producer ROBERT FRYER
Music by JERRY GOLDSMITH Screenplay by HEYWOOD GOULD
From the novel by IRA LEVIN Produced by MARTIN RICHARDS
and STANLEY O'TOOLE Directed by FRANKLIN). SCHAFFNER
Original Soundtrack Recording Available on A&M Records And Tapes
^}t97Sfc>enCt*tt>CenlurHo>
-Hte're Horn* Aj*fcT Sung by EUnc falg*
Warning: some gory scenes—
B.C. DIRECTOR
CAPITOL 6
Daily at
2:50 5:00 7:10 9:25
Friday, October 13, 1978
THE      UBYSSEY
Page Friday. 5 [theatre theme issue
UBC theatre students find home
UBC Theatre students have
found that their department offers
them a wide introduction to theatre
besides providing them with actor's
training. There are no theatre
students languishing backstage as
was once rumoured.
"The main directive of the
department," says Gary Basaraba,
a spokesman for the Theatre
Students Association, "is not to
train actors to a standard of professional competence. Most theatre
students agree that if this was their
HOLLYWOOD
3123 W. Broadway 738-3211
Keith Carradine - Susan Sarandon
Brooks Shields
"PRETTY BABY"
9:25
Some   nude   &
gestive scenes.
Geo. C Scott - Claire Bloom
"Islands In The Stream" - 7:30
NEXT WEEK
David Niven - Peter Falk
Maggie Reed
"Murder By Death" - 7:30
General Entertainment
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goal, they would have attended a
conservatory."
Rather, acting is just one; facet of
a BA in Theatre which can cover
technical training, history or film
and television. However, theatre
students feel a BFA program would
be worthwhile at UBC and the student association hope to see it instituted someday.
The Freddie Wood Theatre is not
part of the Theatre Department. All
money for the theatre comes from
the Freddie Wood Foundation and
has nothing to do with the Theatre
Department's budget.
"This is a professional theatre
and ranks with the Playhouse and
any other professional theatre in
town," commented Basaraba.
sequently, the productions are expected to be as high calibre as possible and should a student fit the bill
then all's well. If not, then an Equity actor is auditioned to fill the
part." '
There was some controversy last
year that students were not cast in
mamstage performances at the
Freddie Wood Theatre and that the
spotlight was on hired professionals.
OPTIC
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Student Discounts
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But as for professors realizing
their own artistic ambitions at the
expense of their students, says
Basaraba. "The theatre is not exactly professional directors working
for free but nor is it professors
merely flexing their artistic muscles.
They're fulfilling in a unique way a
need for theatre in this community
through the grace of the Freddie
Wood Foundation."
Theatre professor John Brockington conducts student orientation
meetings early in the year, to prevent
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MONDAY, OCTOBER 16th, 1978
CATHY HOWE
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FILM: SEEDS OF HEALTH
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EVERYONE WELCOME
any misunderstanding and clarify
the program's directives, particularly to first year students. And the
Theatre Students' Association was
formed to ensure that the communication lines are open for the
attainment of student goals.
One of these goals is to make the
community aware of the productions being shown at Freddie
Wood. "The plays that are done
here don't seem to really enjoy the
support that 30,000 students could
be giving," commented Basaraba.
According to Basaraba, there has
been ample opportunity for student
exposure. First and second year
Masters students are required to
direct a number of plays in which
students are predominantly - cast.
This year, these will be showcased
at the Freddie Wood Theatre.
But Chris Smith, president of the
association," asserts that " working
with a lot of students is not getting
professional assistance."
Another theatre student
Jonathan Hobbes says, "We may
as well be sitting in the audience if
the cast of the mainstage
production is totally comprised of
Equity actors."
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THE      UBYSSEY.
Prlday, October^ ,13,..1978 [theatre theme issued
An Actor's Diary Theatre Workshop
By GREGORY STRONG
In "An Actor's Diary of a Theatre
Workshop," Gregory Strong outlines his ten
day workshop with Yurek Bogajewicz, last
August, in the auditorium of old Chalmer's
Church.
Bogajewicz is a well known theatre
director who was responsible for two outstanding theatre productions in Vancouver
this past year, Shadowdance at the Arts Club
and Oedipus at the Playhouse. Bogajewicz
began his career as an actor at the Warsaw
Academy of Theatre Arts and later spent two
years training under that great artistic innovator, Jerzy Growtowski and he brings
that same particular intensity and
methodology to His work.
I had never considered myself as an actor,
but I had always been interested in theatre,
especially some of the alternative forms that
had been developing in Europe and the
Eastern United States. I had read Jerzy
Growtowski's book, Towards A Poor
Theatre and when I heard that Yurek
Bogajewicz had studied under him and
would be givjng a workshop in Vancouver, I
quickly joined him. I soon learned that
although both methods involved a particular
intense approach to the study of acting, they
were quite different.
Yurek Bogajewicz had a special way to
start. He interviewed everyone before he
accepted them. He wanted to find the risk-
takers, those who would risk doing
something unknown.
"What is the purpose of our work? I will
not answer your question and give you the
security of an answer."
It was a creative provocation. It was also a
journey of self-discovery and Yurek
Bogajewicz knew that terrain. He introduced
everyone to a special landscape, that of
"physical details" and a'particular method
of working. He said that he wanted to find a
mood in us, the right direction to our hidden
stores of energy. He warned me against
writing about it.
"Do not make the attempt to define and
categorize the experience," Bogajewicz said,
"it exists and has a life of its own, separate
from any attempts to describe it."
But I knew that at least with mv words I
could set down this experience, try to contain
it and even understand it.
FIRST DAY
It was Friday, the first day of our
workshop and already I began our work with
some resentment because I wanted to experience it alone. There were four of us in the
workshop, Bernard, Gerald, Moira and I.
We sat on twelve cotton filled mats in the
centre of a sixty foot wood panelled
auditorium in Chalmer's Church. There was
a twenty fool ceiling and six fresnel lights
hinged on nine foot poles shining on us. We
agreed that any discoveries we made there
would be kept secret outside the room. The
large wooden room would become our experimental laboratory.Yurek began by
teaching us a special methodology of acting
exercises called the "details," isometric
exercises, or isolation work with particular
muscles. There were three phases to this
movement, an attack, stretch and with
corresponding muscle positions.
He asked me to express myself using only
these physical details. That seemed very
limited and I was angry that my movement
was confined to them The others accompanied me as I tried them, singing some
old tunes.
Yurek asked me to drown them out just by
the character of my movements. I started
jumping harder and harder down on the
mats, tucking my knees against my chest
when I came up, then banging my heels down
heavily on the mats to make a loud sound.
My ankle was badly sprained, but I was so
angry that I kept jumping.
Finally Yurek ended the work. "Your
whole body said no while you seemed to say I
will try everything in my power to go on. You
weren't open to anything. The ahger that you
felt meant you had to make a decision to quit
at that point and say some four letter word,
or go on. And instead you had this incredible
willpower that kept you doing the exercise
for about seven minutes even though you had
hurt a muscle."
SECOND DAY
On Sunday we made a musical improvisation and dance piece with Moira's
African instruments. We are each
given a few moments to write down a
description of ourselves and this will become
our text for the next eight days. We will use
them to explore our voice ranges and to find
some emotional centre for our work.
Michele who is from the morning group,
joins us today and Yurek leads us all through
a series of the physical details. He says that
each of us will find a detail that we like and it
will give us a certain strength.
Yurek likes the flexed arm handstand best.
To do it your forearms must be flat on the
mat, and your elbows flexed. Then you kick
you feet into the air and go into a back arch.
You can never tell if you are going to make
and remain balanced. He likes this un-
certainity about it.
THIRD DAY
Both Bernard and Michele make a special
breakthrough. The mats are pulled to the
centre of the room and lined in a square.
Gerald, Moira and I watch them as they run
around the square and do the details. The
details are a form of concentration and they
accelerate an acute physical exhaustion.
Both Michele and Bernard have a strong
emotional reaction when their muscle
resistance is gone and they make their
discoveries. For Michele, it is the discovery
of new possibility for her body. She takes on
the character of a witch and it is a tremen-
dous-and frightening spectacle. For Bernard,
it is a discovery of his voice.
We make tunes with the texts we wrote
yesterday and we teach these songs to each
other. We work for about three and a half
hours yet no one notices that we have had no
break. Finally we are finished and eat a
supper together in the lounge. Everyone is
joking with each other and no one wants to
leave. Unnoticed, Moira slips out.
FOURTH DAY
Again it is another day of breakthroughs
although not for me. My body feels
somewhat strained, neck muscles bulged and
spine tired. I am late for the workshop and
when I arrive I see Moira explaining to the
others why she has decided to leave our
group.
There is no changing her mind. "I don't
think I can take the physical work," she
maintains, "and I know that you are going to
increase that work more and more as we get
to the end of the week." She leaves us.
Everyone is depressed and Yurek hesitates
to move on. For a moment he is not sure how
to continue and is lost in self-analyzation.
Temporarily the four of us take the slack and
we joke and sing the songs we have made,
including Moira's song which has now taken
on a sad quality.
Later Bernard and I work alone and I am.
asked to do the work with my eyes closed.
Yurek tells me that whenever I am blind my
technical  work,   the  details,   show  more
precision.
"I don't understand why," he says, "but
your exercises lack precision, it's as if you
were speaking gibberish with your body. You
pass quickly from detail to detail and yet lack
precision in your movement."
FIFTH DAY
What did my work mean? I didn't
understand it. I was tired, lazy and afraid to
do work when I came to our meeting. I
wanted to overcome all these things so I
challenged the others to run me to
exhaustion. Gerald, Michele, Bernard and
then my friend Gerald again all ran with me.
I hated it but I kept running because I hoped
that I could make some breakthrough.
"It was a brutal exercise," said Yurek,
"amd one which I normally never allow to
occur in a workshop. But at the same time I
felt we should take up your bizzare
challenge."
He felt I was withholding my real nature
from myself, that I was hiding behind that
clown face and it was the clown in me that
offered the challenge. I got so upset at what
he said that I lept up and decided to continue my work and discover who or what it
was that I was fighting.
I ran around the room, banged my arms
against the high walls, fighting the barriers.
"Too small, too small," I kept repeating
over and over. I threw mats and I tried to
—matt king photo
BOGAJEWICZ ... Do not attempt to contain and categorize experience
find an image for what I was fighting.
Yurek was giving me instructions,
"Destroy your voice, Greg. Destroy it! You
have two minutes to destroy your voice."
I tried yelling and shouting. He asked me
to defeat the giant and I tried. Then he asked
me to sit down and I am exhausted.
"I think I know what you are fighting," he
said, "but I don't think you'll find it up here,
you can't rationalize it. Maybe it was your
body striking back. Have you been
disrespectful ... lack of exercise, perhaps. I
don't know.
"It's like an old stone which you have
carried with you for many years and now
want to move. Or a mask of personality, a
side of you which was once useful and may
still be useful in the future. But it is not the
real Greg and that side of you screams to
escape."
I was tired and bruised. My voice was
raspy and cracked. Still I felt great calmness
and I lay on'my back weeping. Michele and
Bernard rubbed and massaged my feet.
Impressed with the expression, unformed as
mine was, Bernard asked if he will have
another chance to do individual work.
"When I saw you hitting yourself against
the wall," Michele said, "I thought of the
Hulk, this creature imprisoned in this cement
like body."
"You said it was something bigger than
you", Bernard added.
"No, he just wants to be strong, that's all"
Yurek jokes, "like his name."
SIXTH DAY
Yurek is tired today. It is the strain of
leading two five hour workshops every day.
He is asleep when Gerald arrives and Gerald
wakes him. I arrive late as usual and then we
begin.
We work in pairs, doing a stream. ..of
details. Bernard and Michele go first and
they do well together. They move tuned to
each other's needs and physical resources. It
is beautiful to watch and I am jealous.
"You have reached a plateau, Bernard.
You were the source," Yurek tells them
When Gerald and I work together there is
none of that spontaneity or affection. We
begin with the details. We try to play
together and it seems very contrived because
we   have   both   already   rationalized   the
exercise. Eventually I draw him into a game
of mats, teasing him by turning the corners
on them and messing them as he tries to
straighten them. I know him too well and he
finds my disorder increasingly annoying.
Neither of us can leave the terrible game.
We are blocked. Gerald gets angrier as I get
more pleasure from this manipulation. At
one point he is so upset that he tries to leave
the room and even climbs up a seven foot
cupboard to escape me. Yurek asks us to
stop.
"Do you know how long you did the
details for, Greg? About seven minutes and
then you forgot all about them. Your value
was good in setting up the game, but you
used it as an excuse to antagonize and
manipulate Gerald. After it began, you did
not allow him any room."
"I had the feeling that you were both
dodging a confrontation," says Michele, "I
wish you could have just had it out, out
there."
I feel ashamed.
"Let's do it, " I say, "right now."
We agree to a wrestling match. It seems
endless and very brutal. I am stronger than
Gerald, but slower and not pyschologically
prepared. He has this sergeant side of his
character and between rounds, he is doing
push-ups to unnerve me. I jusLtry to catch
my breath. I am afraid to be beaten.
During the fourth round we are shouting
names at each other. We are hurting each
other and scratching and bruising. The
fighting is desperate but neither of us can
force a pin on the other. And neither will
quit.
Finally Yurek ends this torture by dumping a bowl of cold water on us while we are
locked in a wrestling hold. The shock has its
effect. I laugh and Gerald watching me,
laughs too. We splash the sweat off each
other with the water spilled on the wood
floor.
"I don't call what you did work, but it was
necessary to do because it was blocking
further progress of the group."
I felt we had wasted time. Later Gerald
and I sat quietly on chairs in the lounge, stiff,
scratched and bruised.
Turn to PF 8
Prlday; October 13, 1978
THt      UBYSSEY
Page Friday, 7 \lheatre theme issue \
Life experiences charge theatre
YUREK BOGAJEWICZ ...
creative challengo
"I don't think you should both continue
talking about this, it happened and it's
over," Yurek said.
That night when we leave the church we
see another, comical side to Yurek. I hear
someone playing semi-burlesque piano tunes
and then 1 see Yurek playing a piano in a
dark room off the auditorium.
SEVENTH DAY
It was Friday. I came early today. Yurek
was sitting on a chair in the lounge. I sat on
the couch while we talked.
"I am very glad you took the workshop. I
think that you took this workshop at the last
minute."
"How so?"
"A year later and it would have been too
late."
"What do you mean?"
"That by that time, you would have closed
yourself off completely. Part of it is your
temperament, we all have tendency toward
certain behaviours... but your writing added
to it. In fact I think this was part of the
reason for your isolation."
We have a warm-up. Everything is less
strenuous today as we are tired and bruised.
The structure of our work is to be alternating
pairs who work with a single prop.
Bernard and I are first and he surprises
me. He puts on a rubber nose and plays
handball with me. He is joking with me
because Wednesday I said I wasn't a clown.
Working with Bernard, I imagine I am being
taken to the circus by Bobo the clown.
When I work with Gerald I am con-
cilatory. We play games and end on the
floor, rolling on the mats like two dogs we
tug on an old rope with our teeth.
But my best work is with Michele. I have
difficulty getting her to approach me. I find
her sexually attractive. Soon we make
frequent contact. We scrunch noses and we
chase each other around the room, but
mainly I chase her and she hides something in
her right pocket. When I turn away she
quickly slips a long blue wool sock over my
eyes and blinds me.
She runs away from me and I try to follow
her, sometimes catching her in my arms, but
always releasing her. She runs from me a last
time, then returns to untie the blindfold. She
teases me with that royal blue sock, waving it
before me, tugging on it.
Yurek interrupts the work and asks us how
we feel about each other.
"Greg, what do you think of Michele as a
woman?"
"Very attractive."
"And you Michele, how do you feel about
Greg? Is he attractive?"
"I guess so, but he seems stiff."
"Greg, lie down on the mats and let
Michele tickle you."
I laughed and Michele made some very
funny faces. Yurek asks us to switch places
but I cannot make Michele laugh and the
exercise ends. Later in the night, Yurek
summarizes my work.
"Are you also aware that
proximity to a grey cell is death to this type
of work? You've come a long way and you
were very open and saw everyone's
movements as fresh. But you didn't take the
initiative.
"It's like you had a house and spoke to
your friends outside it, even went inside and
brought them out supper, even let them get
to the front pourch, but the door was locked.
Michele got into the house by the backdoor,
then she ran away."
EIGHTH DAY
The morning and evening workshops
joined each other. The four of us joined the
nine of them. We spent the first hour and a
half doing a warm-up to some loud contemporary   music.   Then   someone   from
another part of the church comes to the door
and asked Yurek to turn off the music
because there was a group meeting for a
funeral.
We did a stream of floor exercises. The
mats were lined in a diagonal strip across the
room and each of us did a series of forward
and backward rolls and handstands, elbow
stands and earstands. We also taught each
other our song texts.
Then the work began according to rules
devised by the other group. Each one of us
was to enter the centre of the theatre space
and do a stream of details until we reached
some emotional take-off point where totally
free movement was allowed.
Everyone else sat separately and lined the
walls around the room. They could add
sounds to encourage that person in the centre
or even join in the work. And Yurek was
allowed to interrupt the exercise at any point
to call instructions, or a freeze when
everyone was to question the person in the
centre and set them working in the right
direction.
Reid went first and his technical execution
of the details was impressive. But his voicing
of his text was too polished. He didn't allow
his song to come from anywhere in the lqwer
part of his body. And he had muscle cramps
because his body did not want to do the
work.
Afterwards he noticed me and asked me to
go next. I was nervous and unprepared but I
began running around in the circle and going
through the stream of details.
Turn to PF 9
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Page Friday. 8
THE      UBYSSEY
Friday, October 13, 1978 I would not use my voice while
running. Then I put more effort
into the details and my voice sounds
came easily.
Yurek asked me to recite my text
and I did. I was a poem I had
written about loving candy and
pleasure. Yurek reminded me of the
story Gargantua and Paritagruel
and asked me to show their
gargantuan eating habits with my
body.
At times the group recited parts
of my poem, or sang it, to give me
more strength. Then Yurek asked
me to make giant eating motions
while speaking in a small voice. It
was impossible. Then Melanie
entered the space to help me make
the small voice. She sang and led
me around.
I was stopped and the gourp
asked me their difficult questions.
"Are you aware that your arms
and legs are very stiff?"
"Why are you saving your
energy?"
"Are you running from
Melanie?"
"Why won't you give her
anything?" >
"And do you realize that
anything you^gave her had many
conditions?""'
Finally I was allowed to run
again. I tried even harder. Yurek
asked me to sing to Melanie and I
tried to sing to her. Then he asked
.us to sit opposite one another and
told me to sing musical notes to her
and communicate my feelings with
them only.
At first I sang to myself. Then I
saw that she had turned away and I
pulled a note. She turned bake and
with the notes I described her and
revealed some hidden intimacy
about myself. My work ended and
we all sat down in a circle to discuss
it.
"Could you comment on how
you felt during the first few days of
the workshop and how you feel
no," Yurek began.
"Well, at first I simply regarded
by body as a vehicle. A carriage on
wheels, I guess, to get me around.
Now I see that to do this work I
need to follow the inclinations of
my body."
"You made real effort. The next
stage is the physical work. The
details were much better. What was
it you said, Michele?"
"I said that his body was the
most relaxed and free that I've seen
it since the work began."
New Play
Centre from pf 3
also comes back to me from other
people.the quality you can see here
leaves nothing to be desired compared to the quality all over this
continent. A lot of it's first-class
material, and yet there still seems to
be that vestigial thing as far as the
theatre's concerned which is that
any theatre here has to be second-
rate.
I mean, the number of people
who got from here to New York to
go the theatre, or even Toronto, but
wouldn't dream of stepping inside a
theatre in Vancouver is ridiculous.
PF: Yes, Vancouver often seems
to manifest an inferiority complex
in many ways, as does Canada
generally.
NPC: Now, the other side of that
coin is, and I'm sure people who
don't like the theatre would say this
right away, is that the theatre
somehow isn't relevant anymore.
And being in the theatre, and loving it, I find that a very difficult
thing to combat. And that may be
one of the problems the theatre has
today, that the people working in it
and trying to make it a viable force
somehow haven't been able to make:
that connection to most people in
terms of it being relevant.
turn to PF 10
"At this point, you can either go
further, or you can forget the work
completely. Remember that it took
you a long time before you communicated with Melanie."
NINTH DAY
Several others get their chance to
do individual work today and one
girl who is a student at the
Playhouse Theatre School is heavily
criticized for not trying hard
enough and for a poor attitude to
her work. She is sad and cries.
"Do you see the difference,"
Yurek says, "between the two
views, theatre is experience and
theatre is only an exploration of
experience,, a charger of experience.
You must have the life experiences
from which to draw your theatre."
EPILOGUE
On Tuesday, our last day, five
people did individual work and
Yurek gave a brilliant and forceful
summary of their work.
Yurek had incredible power in
the  workshop.   It  was  a   power
granted him through his extreme
awareness of the other people and
their willingness to come under his
direction.
At the end of the workshop he
wouldn't say goodbye to anyone
because he felt a farewell would
encourage us to  look  upon  our
work as finished when it had just
begun. He encouraged everyone to
keep meeting and doing this type of
wiork in his absence.
"I don't want anyone to go home
with change in their pockets. If you
think this is the end, then you'll
forget it."
Yurek Bogajewicz is returning to
Vancouver on November 6 for six
ten person workshops. For further
information, write or contact A
Theatre Construction of Man ", c/o
Bernard Ross, wuite 2-2754 W. 4th
Ave. at 732-8568.
Ill
111
i : i
CENTRE
2671 W. Broadway 733-2215
Complete Selection from Classics to Rock
5?
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A $56 * value for only $46
* Based on 5 round trips per week
Pass Valid Oct. 15-Dec. 31   <77 d°ys indusi»e>
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! New Play
Centre from pf 9
PF: Are you satisfied with
Something Red?
NPC: I think it's a very interesting piece of theatre. It has
some real second act problems, but
it's the kind of theatre you practically never see in Vancouver. It's
about a very real strata of society,
particularly in our frontier world
out here. It's got a central character
who is beautifully drawn, really
understood an.d captured, both on
paper and in the performance. And
it has a first act which is as good as
anybody's first act.
Now it seems to me those are aiot
of plushes. It's got some negatives
that aren't solved yet, but its also
his (Walmsley's) first full-length
play. A lot lot of people who'd seen
it have come up and said things like,
"I  know  that guy,  I've met  that
guy, in Alert Bay, or in Campbell
River, or Kamloops or Burnaby; I
know him!" And I think that's interesting.
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Interested In CA Employment
ARTHUR ANDERSEN & CO. is seeking 1979 graduates
for Vancouver and all other offices of the Firm. Mail (or
bring in) an original or photocopy of your personal
resume (UCPA form is suitable) by October 23,1978 to:
DIRECTOR OF PERSONNEL
ARTHUR ANDERSEN & CO.
2300—1055 West Hastings Street
Vancouver, B.C. V6E 2J2
All resumes will be "acknowledged. You will be contacted on or about October 31st regarding campus interviews which will take place November 6 - 9th. Additional information is available at the U.B.C. Placement
Office.
Do you believe that prejudices of all kinds
should be eliminated?
Do you believe that all nations of the world
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Do you believe that there is truth in all religions?
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Baha'u'llah wrote:
"/f is not him to pride
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The earth is but one country, and mankind its
citizens."
ONE PLANET
ONE PEOPLE
...PLEASE
GBaha'icFaith
If you would like more information please contact Michael
and Ruth Bray at 228-0583 or attend an informal discussion
Tuesday at 12:30 rm. 113 SUB.
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Page Friday. 10
THE      UBYSSEY
Friday, October 13, 1978 Opening Oct. 18 at the Burnaby
Art Gallery, 6344 Gilpin St., is an
exhibition of David Marshall's
works. Entitled Sculpture in the
Tradition, the exhibition will
feature pieces in wood, marble,
slate, granite and cast bronze, brass
and aluminum.
Two plays opening this weekend
are The Shadow Box and Hamlet.
On Oct. 12, the Arts Club Theatre,
1181 Seymour St., opened its 15th
season with Michael Cristofer's The
Shadow Box, a very recent
American play which has won both
a Pulitzer Prize and a Tony Award
on Mon. - Fri. at 8:30 p.m., Sat., 7
& 10 p.m.
FRANCOIS
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WORSHIP AT THE
LUTHERAN
CAMPUS CENTRE
Sundays—10:30 a.m.
Morning Eucharist
7:30 p.m.—Evening Prayer
Wednesdays—12 noon
Midweek Eucharist
This Sunday—4c00 p.m.
Community Meeting
THE UNIVERSITY OF BRITISH COLUMBIA
1978 FALL LECTURES
BY VISITING PROFESSORS
Owen Barfield
Owen Barfield has had a far-reaching impact on the humanities in our time, as both a
writer and a literary critic His Saving the Appearances, Worlds Apart and other books
have explored the relationships between science, religion, philosophy, history —
almost the breadth of human thought Owen Barfield, now 80, continues to explore
new patterns of thought after his careers as lawyer, writer and literary critic from his
home in Kent, England
THE FORCE OF HABIT
Tuesday, October 17 In Room 106, Buchanan Building, at 12: )0 pm.
HISTORY OF IDEAS: EVOLUTION OF CONSCIOUSNESS
Saturday, October 14 In Lecture Hall 2, Woodward Instructional Resources Centre, at 8:15 p.m
(A Vancouver Institute Lecture)
ALL LECTURES ARE FREE
PLEASE POST AND ANNOUNCED
sponsored by
The Cecil H. and Ida Green Visiting Professorship Fund
SUMMER
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Please see your placement officer now for further information on openings,
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WATCH YOUR STUDENT PLACEMENT BULLETIN
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P.O. BOX 2844, CALGARY, ALBERTA T2P 2M7.
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Friday, October 13, 1978
THE      UBYSSEY
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Page Friday. It
THE      UBYSSEY
Priday, October 13, 1978

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