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The Daily Egyptian, January 29, 1978

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The Daily Egyptian, January 29, 1978 Southern Illinois University Carbondale OpenSIUC January 1978 Daily Egyptian 1978 1-29-1978 The aiD ly Egyptian, January 29, 1978 Daily Egyptian Staff Follow this and additional works at: http://opensiuc.lib.siu.edu/de_January1978 Volume 59, Issue 86 Recommended Citation , . "The aiD ly Egyptian, January 29, 1978." (Jan 1978). This Article is brought to you for free and open access by the Daily Egyptian 1978 at OpenSIUC. It has been accepted for inclusion in January 1978 by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. Gus says opera sets are built w,'h musical saws. Opera scenery (Iesigned and blrllt by SID aiumnllS By Kale Wall sa.... WriWr After he r·tCt'ived rav~ ",views in "TIle philosophy behind scene de~l':r. "Opel'a Nev.s" for his 5cr'nK: designs is to suggest and help creatt' moods. [, fO!" Ooera Piccola of Sail Francisc:(>, sUPl"Ort the action without dL"tracIHll. Jesse J.-mes Hollis ..'in SlU graduate. IS the audience," Hollis ~xplained. back on the set at StU. "When you approl'.ch design what )"" Hollis. a designer f')r Opera Piccola need is a problem to solve. Usually In' of San Francillco, is behind the sr.enes director will give you the probleJil .. sketching. building scale models. and Hollis lI.'lid it would be Wlreallstle ,,, CQIIStructing and supervising the set for construct the 16 different lK'enes for tht· the upcominl! opera. "J)1alogues of the opera and strive for authent'cll~ Carmelites.' Through the use of props_ moving plal' TIle opere will be pn...ented by the forms and walls. and a rolling ct'nlt'r M",rjorie Lawrence Opera Theatre on stage. he "suggt'Sts" SCC'nes. Saturday. March 4 at 8 p.m .• and Sun­ Compromises were made to O\'er' day. March;; at 3 p.m. come the- limitations of Shrvock. OntO Director Mary Elain.. ' Wallace. who scene calls for a -erucirax to appear recalled Hollis and his ~;IU works. con­ suspended. Wooden arches had to bt> tacted Hollis in Novemher and asked constructed to support the cross him to design the set. t{ollis studied un­ Hollis constructs the- set with the help der Darwin Payne now chairman of the of some of the performers. In the- past. theater department. the performt'rs have actually designed .!o 1974, Hollis graduated with a and constructed the lIt't. m8S\)!r of fine arts degree in set design. After completion of the set, which Will From the construction of the set in his take- 4 weeks, Hollis pl:ms t'n returning mind to the actual painting of the to San l'rar.ri_'ICO where he will work or. solemn faces of the CarmE'lite nuns. summer productions. Hollis is an artist. Whether he has a His past experience include<; working scene in his mind or a hammer in hIS in San Francisco as a ,iesigner­ band. he's involved in the creative draftsman for the Shakespeare Festival process. in Ashland. Off. He works quietly in the scene shop. Hollis said he would return to Sit: to recording dimensions. referring to his design another set If he is asked and sketches and visualizing the final bas no other committments. He is im­ product. Seemingly indt'pepdent of pressed with the facilities. equipment .. otben.' .. ' ... actua.ty···wartang iu and cooperative co-worken at SW. coUaboratiGII with them. "No ~ per­ 1'he' opera follows I. lives 01 IS car­ son can have all the rigt!' idc-~." HoUis melite nuns during the revoluU.... in Jesse James Hollis, an alurml, designs end measures the ......, far said. He stressed thP designing of a lid Paris. Productions co-ordinator Brenda the presentation fA "Dialogues of the Carmelites" to'le presented is a process req.~iring .nput from Lualdi dPstTibed the '!ft'I'a as •. "in­ March ~ In Shryock Audlt«lum. (Staff photO by MIl. c Galasslnl) everyone from the lighting director to tense tragedy of hope' arK! ."'plained the ~rrormers. that it's basically a story of people. Band takes note of contemporary music By MId.. I.IInidI six P!lirs of ha'lds IUtting the drums. triends, four little. five little. six btUt' Slaft Wfiler ~ined in time by the oriental t>eU sound ~U::ntydat~e i~~~~':i~k~: friends. seY('fl litUt'. eight little. nine lit· RMv~-e black band that will have a oi. the xvlophones and the tambourines maracas. stK' slands facing tht" dan­ tle friends. ten little friends in the lot to say I1bout the future of con· of the d8~. What results is a highly cers. with only ttlt' c{lngas playing. band." The first chorus was sung a K-mporarr bllack music. nersvnal .. , •. ,' professional "Fly Robin They stop only for a 3010 from Randy capt"lla. tl-e ~ond acrompanied by Reavis IS Ifd by scrawny little VICKi }-Iy". a t 1 .lblllBtion of jazz, soul and Durr. one of Murphy's oldest students. haild~lapplng. while the thiro rendItion Bramlett 011 the trap drums. Janine the neip,hborhood influence. It is St'me OnlY Vicki has been with him longer. had the' lUllS running to various in­ Bassett is responsible Tl'l' the six female of the mest original of contempMary Murphy Met Vicki Bramlt'tt. his strwnents wt.ich they plaved whlw thp'. xylophone prayers and Randy Durr music and certatnly the youngest. eV('fltual bandleadt>r. when he did hIS sang along. After t1.e thiro chorllS. Mur­ does the same for the boys on congas. Later in the afternoon, in Murphy's student teaching ir the second grade at phy reroutes the song on plano to the Serena Mitchell. at age II. is the first grade music class. eve" the SIX' Reavis. opening chords of Fleetwood Mac s youngest of the four espressive dancers year-old girls would wander in and beat ... k:1~'* who sht" was and "Rhianooo" while the kids continue to out the melodv to "Fly Robin Fly". "I .:-verl.thing." said Murphy. but I who accompany Reavis' powerful jan didn't teach diem that. They just pick it follow on Un!ir instruments. and abstract interpretations. didn t know her that well. or "1 don't know which instrwnent I like '10," Murphy said. Dur~ the Special her ~rents or ,anvthing. On my last Tht>y arrange and compose their own Bin""s hUlCh hour practices. yOWlIC to plav the best," savs Randy Durr. 11. mWilc and alI attend gra;nmar school. day, • was walking down ItIt> halls. "because I like them aU." Everv m .. m· fsCes ;>ress agal:!.!t the gla!;" 000r to S4~ saYiflg goodbye 10 everyone and she Band mo!fllbers range In a~e from eight the band il!ay. Sl'me daDc:e in the halbo. ber of the band can pia!" at wast' five m' til t>k>ven. yet are paid like profE'SSional came running down the hall erving and lItruments and almo:st every band "Okay 110". 'Room ~o Move'. Just . i't!rn~ into my apns: NeedlesS to say, member can rt'ad mllSic. Manv tht' mU.'HCUlns. play 1& ,;tralg.~t. ~kay. And Vicki­ was Impressed.• or soRer IIOW. sol,er. girls play the saxophone in addition lu ,u!~~rb~ :: :!{.;!~t!x~~,:e!ir Reay!,,' mUSical ~gram includes Vicki came to study music under him a ChlC8go p'ublic grammar 5('hool that Ht>an's "Crazy on You". "Soanish when he tau~ht at the Hyde Park ;:~i~ :.~~ !~r:rim~~t'J.i~':::~~ st'rves the ftrst Ui~ fifth grade at Flea", "Ease 60 Down the Road". fieldhouse. then rose through the ranks using her for a renditlou of KiIti Dee's "Cisco Kid" and "Room to Move" a of the ~ial Ba(ld to become its "Chicago" for use as a finale. ~~. ~ ~x~r:!octCh~act: t::u~r- modern jazz piece .first recorded by Ed­ wader ano Murphy s special stude,.t. Murphy's teaching technique is a t1l1t'm Hyde rark area I)", no....~ the die HarrIS and Les McCann at the Mon· combination of two music teaching treux Jazz Festi'.aI. "Next week we're !.':J'~o ~ =iIIL~"~~o a;! t: methods-the Orff and Manhattanville ~~~I1J!I~r ~!a~~ .!dmi~sa!!l~~e startill8 on some Jethro Tull," says Richard Pryor movie. "Man. ""as I em­ The Carl Orf( method emplovs what are "Take it from the SC:iMing. 'Fly Murphy, as the fourth graders enter the barrassed. You know, it had all sort_<; t?( termed Orff instruments-11lamlv Hub,n .Fly.' Fet1r tillle... awenty-{our· room and search for instruments to real dirty parts." rhythm and Ik'rcussion instru.uentS ::";lr1tld Jim Murphy conducts and bang. beat and make mllSic ... ith. "And In his afternoon classes. Murphy such 8!1 resonator bells, claves. gUlros. IralRS the Reavis Special Band while teaches first and fourth graders the role ~mbals and castalk'lS-in addition to =1 k,i:':'ifIa~!Png on something U:ey of the cor.ductor by havmg the children ~ 'i~ti~~:-::~i':!s'fr:~:.' ~1,:r :: condUCl their own classmates on the e~"~n.:~ru=t! g~~ tht-m jam and pAay tJw ~ov~ ald M=ir thelin ~f~'" cl::!'!~lofco~ band's ~ruments. TIle first grade the chill the ft'ei of "!iSic instnuoenll' "\IOr ahd then they start wicling their position by ~rieg, the xylophone sessi\)n ends with the children and through their Il'le In abstract com o... n bits and ~." . "layers alternate between the dance boottieing to Ringo Starr's "Ob. My, pmitions, a fee' for the use of the m' The six young arod ~ty xylophonISts noor and their instruments.
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