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The Daily Egyptian, January 29, 1966 Southern Illinois University Carbondale OpenSIUC January 1966 Daily Egyptian 1966 1-29-1966 The aiD ly Egyptian, January 29, 1966 Daily Egyptian Staff Follow this and additional works at: http://opensiuc.lib.siu.edu/de_January1966 Volume 47, Issue 79 Recommended Citation , . "The aiD ly Egyptian, January 29, 1966." (Jan 1966). This Article is brought to you for free and open access by the Daily Egyptian 1966 at OpenSIUC. It has been accepted for inclusion in January 1966 by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. Aristophanes'Lysistrata -By Christian Moe, page 2 SOUTH~.N II.L'"O'S UN'V •• SlTY Carbondale. Illinois Vol. 47 Soturday. January 29, 1966 Number 79 PTlilN ~!lJf·( __ ...... _........ _..... ............. 'DAily - ............:EGY -............... __ ..... A ristophanes' Lysisfrafa A Racy, Timeless Plea for Peace By Christian Moe at!aptation translated from the Greek by GIlben Seldes. Mr. Seldes has neither dis­ Assistant Dean toned nor greatly revised the original School of Communications comedy. He has, for example. deleted con­ At 8:00 on February 3-6 and 10-13 in the temporary references to names or events with which a modern audience would not be University Playhouse. the Southern Players familiar. He has added dialogue here and will present one of the oldest antiwar dramas on record: Lysistrata by Aristophanes. a there to clarify the motivations of the charac­ ters, and brought on stage a lively bacchanal ~:f:'~ ~~';il:r.dramatist of the Fifth Century scene that Aristophanes placed offstage. The comedy depicts the effons of a decisive And in making these and similar slight Athenian lady named Lysistrata to force the changes the adapter-translator has attempted men of Athens and Spana to end a war tbat to make the comedy more meaningful and is in its twenty-first year. dramatically understandable for the To accomplish her objective, tbe title twentieth-century playgoer. Commenting on character organizes a sex strike among his adaptation, Seldes has remarked the women of Greece. pledging them to ". • .Changes which I have made in the abstain from love until their men are driven text are those-comparatively few­ to negotiate a peace settlement. And tben the which develop the natural Aristophanic fun begins. The action takes place within ideas • • • • I was not ever aware of a few days' time before tbe Acropolis which changing the tone, tbe meaning, or the has been seized by tbe women as a head­ essential spirit of the original." quaners for their campaign. The Seldes version of Lysistrata was The plot pattern is representative of a successfully produced on Broadway in 1930. It was directed and designed by Norman ~ram~tjc form n.ow identified as Old Comedy Bel ~eddes and featured Fay Bainter, Miriam 10 whIch a leadmg character typically con­ ceives an impraCEical. extravagant idea. HopklOs. Sidney Greenstreet and Ernest ,!he idea is met with opposition, argued Truex. Despite its popular and critical suc­ cess, various groups urged that the play In a formal debate, and then tested in actual practice-with ludicrous results. be banned because of its racy subject matter. Lysistrata is one of eleven comedies that Fonunately. the chief of police enjoyed have survived from the 40 or so ascribed to the play thoroughly and refused to close it Aristophanes. They form a running down. c?mmentary.on Athenian life during thiny­ In the day of the Cold War and Viet Nam SIX years. WIth gusto. Aristophanes satirized the timelessness of .Lysistrata is eVident: politics, laws, institutions. and ideas. And It is not surprising that this oldest of anti­ war comedies was staged little more tban a wi~h equal gusto he lampooned the phl!osophers, the politicians, the poets and month ago by a theatre group whose staff artists of his time and his city. Public works for one ofthe newest antiwarorganiza­ and private life alike were his target. tions: the United Nations. The Southern Players production is staged satire and low comedy Lysistrata, weary of war, believes she has a way ::~~a:r~ ::::~:.rent by Christian Moe with settings by Richard Banon and costumes by Eelin H~rrf~on. to end it: a sex strike by the women of Greece. The dramatist reached the apex of his productive powers just as the glory of The lighting is designed by Larry BLJ l ' Athens became embroiled with its attic music is composed by Larry Sledge w r neighbo.rs in the seemingly unending, choregoraphy by Christopher Jones. Cr IT and ultimately abonive, Peloponnesian War Zoeckler is technical director. (431 to 404 B.C.). During this wanime More than 30 students compose '"" :18[. period Aristophanes witnessed his beloved Lysistrata, played by Yvonne Westtook city endure suffering. attrition and finally is aided in her scheme to bring the me~ the death of its power. • to terms by the stout-hearted Spartan spouse Yet these very times drove the comic Lampito IMarilyn Stedge), by some less than poet to sharpen his keenest satirical skill. stout-hearted Athenian women named Myr­ Lys.istrata was produced about 411 B.C. r~ina (Maurie Ayllon) and Kalonika (Judy dunng Athens' darkest days. It is a testament Smk), and by a choruE of fearless old women to Athenian democracy that a play advocating consisting of Pam Worley, Judy Mueller. peace and panhellenic unity in the midst Karen Garrison. Kathleen Buchanan, and Joan of a desperate war could be performed with­ Blauche. out its playwright being either exiled or jailed. Others of the fairer sex enlisting in And the play is also a testament to the Lysistrata's ranks are ponrayed by Ann McLeod, Kath1een Best, Donna Beth Held un!l~gging comic spirit of i>ristophanes, a SPlrtt that never ceased to realize that Jane Chenowath, Judy Lites, and Hazel Bur~ imperfect man was born to laugh as well nette. The president of the senate (Michael Flana­ "hotos by John N;'-/Illrd .. on as to cry. The Southern Players' Lysistrata is an gan). accompanied by three war-profiteering senators (John Gedraitis, Jerry O'Malley and Bruce Potts) and a conscientious clerk (Naggy Faltas), tries to shake the ladies' resolve to end war but with little success. Anu t'4uauy UllSUt.,:Lt::::;~IUl ~.Lt:: c:! ,-HUI \...I';:' Ul old men (John Callahan, AUred Erickson, pauy Ramirez, Robert Wiley. and Peter Ma~~s), the remnants of Athenian manhood, whcl ar~ promptly repulsed while trying to seize the women-held r\cropolis by ·force. First to show the effects of the women's sex strike are rhree Athenian young men (AI Young, Larry Menefee, and James \Ic­ Mahon) who, led bv :\!vrrhina's hushand Kinesias (Peter Goetz), are driven to further frustration when attempting to get their wives back. Kinesias e,'en uses his child (David Wolfe Wagman) as a lure but mother Myrrhina doesn't bite. Young Spartan men (Bruce Logl;don, Wil­ liam Wild rich, and Phillip Stamison) soon share the same frustrations as their male Athenian enemies. And Lysistrata's husband (Richard Banon) is no exception. Pressure groups are nothing new. Fight if you will, men, the women decide, but you may expect no comfort at home until you quit. DAILY. EGYPTIAN Page 3 The pressure begins to tell, revealing itself in a certain tension between the parties. It worked. We knew it would. The battle is over and the men and women of Greece dre, as one can see ... well ... jubilant? Director Christian Moe with Lysistrata's cast. Page .. DAILY EGYPTIAN January 29, ,1966 Portrait of the Young Girl as a Writer By Jack McClintock Janet Hart, a few years ago, was a sopho­ more at SIU. She had been writing shon stories for a dozen years and had never had one published. She had ·stacks of rejec­ JANET HART: "I don't have any lost tion slips and unsold manuscripts. Then somebody said: "Why don't you write lo"e~ to describe--so I tried 0 my~tery.·· a novel?" and she wrote a novel, and she sent it away to a publisher in Britain-and he bought it. Now she's a 22-year-old senior, still at SIU. She has a second book written and sold, a third one in the inspiration stage. She's a member of Mystery Writers of America, along with the prolific John D. MacDonald, one of her favorite writers, and is a member of the Crime Writers of Great Britian. She is a writer. Sounds pretty simple. Just write a book and buy some stamps and send it off. Sure. Janet Hart doesn't look much like a writer. She isn't rugged-looking like Jack London, or suave-looking like John D. MacDonald, or even delicate-looking like Isak Dineson. But of course that isn't necessary. Dark­ haired and dark-eyed, wearing a fuzzy pink outfit, she appears sort of soft and naive and undergraduate-girl-like, naturally enough. I She's that too. But she talks about her million-word ap­ I prenticeship and sentence construction and i •I verbal craftsmanship and plotting a story and making a character breathe. That's what writers do. When Miss Hart wrote "File For Death," h~r mystery about murder on a Midwestern ~' university campus, she was taking 17 hours of course work, handing in class assignments and sweating out the GS courses like every­ -- body else. But she had taken a creative writing course under Kenneth Hopkins, \\Iho liked her short stories. He pointed out something: even if a story is good, it may be difficult to sell unless the writer's name is known-­ and writing a novel is one way to get your name known.
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