Vid Guy: Once Was Lost, Now He’s Found......... pg 7A ^ T1 \ / i r t THE ARTS AND ENTERTAINMENT SECTION OF THE DAILY NEXUS A Look At the Program of Nine International Shorts Page 6A The Santa Barbara International Film I Festival’s Weekend Schedule, pg. 3A 2 A Thursday, April 2,1992 Icore ■ e x h i b i t r e v i e w Deconstructed Visions Display Features Work of Two “Peripheral” Artists A lbert Prey’s build- Corbusier in Paris, are pat­ f \ ings are “horizon- terned after a distinctly / % tal wall planes ex- American phenomena — JL JLtending into the heartless industrial output landscape.” If you glance After mass- His search to find the aes­ through the first couple of producing pro­ thetic of simplicity in nature pages of your UCSB catalog is less harmonious than he waste you will notice before and ducts, toe began imagines it to be, and as the Architect Albert Frey’s Loewy House in Palm after shots of Storke Plaza mass-producing biographical placards state, Springs is one example of the artist’s work. arches. This transformation people and spaces “his work began to take on is exactly what Prey’s work for them to live in. the metaphor of the ma­ (now showing in the South The artist incorporates is all about chine, due in part to the Gallery), is a aecons tractive rock, folk and blues tabla­ Modern architecture’s ... Albert Frey was a standard industrial mater­ investigation of musical ture in her documentation departure from the or­ part of this ials available at the time.” notes. The work looks very on the work of an artist, and namentation and detail adaptation. Prey Houses I and II are, much like Egyptian hiero­ includes references to ev­ characteristic of the Victor­ h o w ev er, therapeutic glyphics, blending moods erything from earlier, over­ ian age was so severe after spaces in an industrial con­ with musical notes and sized choir books to Pygmy the First World War that it text. They may mark con­ small pictorial collages. Es­ bark drawings of central Af­ * might be considered anti- temporary architecture’s sentially symbolic, it can be rica. Both her work and that Victorian. It was not until first attempt to rid itself of described as “an amalgam of of Albert Prey can be con­ architects like Prey came on functionality.” we began mass-producing modernism’s decadent ex­ visual and musical sidered artistically “peri­ the scene that residential The fiat walls, the expan­ people and spaces for them cesses. By providing the experience.” pheral” to the mainstream, structures were approached sive plane of corrugated alu­ to live in. We began moving shell of industrial structures and are worth checking out with the same frugality and minum, the crisp cubicle west into vast desert spaces without complexities these “I’m interested in certain low-cost budgets that were lines against a smoggy sky and our architectural stan­ factories have blessed this notions about music,” as­ Both shows run through typical of the factory build­ were first familiar at our dards faced heat and society with a zen serts Lightbody, “Who April 19 at the University ing mentality — “compact workplaces but probably sandstorms. deconstructionalism. makes it? What role does it Art Museum. For more in­ spatial arrangements” that would have outraged your Frey was a part of this On the subject of decon­ play? What kind of beha­ formation, call 893-2951. were “honest expressions of average homeowner. After adaptation. His designs, de­ structionalism, Joyce Light- vior is involved? And the materiality and mass-producing products, spite early training with Le body’s show, Margins 7 music itself.” —Christian Lincoln A Shakespearean Labor of the Bawdy and Soul It must be spring. Shrew who decided to continue her involvement with the Much of this theatrical work includes what Swander and 1116 sun is shining, lust is in the air, and UCSB’s Ameri­ company past graduation. She described the play as essen­ cast members call the “body” of the play, or its emphasis on can Shakespeare Company, under the tutelage of veteran tially a feminist work, citing that “the women have it more the physical. As with many of Shakespeare’s works, and de- director Homer Swander, is presenting another of the great together and it is the men that keep breaking their vows.” finitely Swander’s readings of them, this often refers to sex. bard’s sex comedies, Love's Labor's Lost. Despite this, she argues that, “in the end, we see that the “People don’t realize that Shakespeare is not stuffy,” The play, performed at the newly remodeled Girvetz men and the women both have a lot to learn.” argues Jordan, clad in tights and the ridiculously splendid Theater (1004) starting tonight is, in the words of the Kang’s dedication is not an exception in the produc­ dress of Don Armado. “He wrote funny and ‘bawdy’ stuff, 70-year-old Swander, “about the idiocies of sex and love.” tion’s two casts, which include a total of 31 students and and, if if s performed right, you can see how accessible it is.” In short, Love’s Labor’s Lost concerns the plight of four alumni. Cast members rehearse an average of seven days If a full dose of “bawdy” is on your agenda, check out male students who take a vow to study, fast and avoid wo­ per week, beginning in Winter Quarter, and often well into Love’s Labor’s Lost in the new Girvetz Theater. Perfor­ men for three years. That is, until four women enter the the night mances will run tonight through Sunday, April 5, at 7:30 picture. Joe Jordan, a Junior English major who is cast in the p.m. (with a 2p.m. matinee on Sunday), and April 9-12 at “It's about young people today,” said Swander, who be­ amusing role of Don Armado, believes the time commit­ 7:30p.m. (2p.m. matinees on both the 11th and 12th). A gan student Shakespeare productions some 20 years ago. ment is a necessity. special performance will be given Friday, April 24 at 7:30 The play’s timeliness was echoed by UCSB alumna Eu- "The more time we spend rehearsing,” Jordan said, “the p.m. Call 893-3535 for more information. nah Kang, a cast member of 1991’s The Taming of the more we find in the play.” —Pax Wassermann FOUR DAYS ONLY!!! EXCLUSIVE ENGAGEMENT SANTA BARBARA PREMIERE FoSF "Long on Laughter, Im agination." Kevin Thomas. LOS ANGELES TIMES "It is quite refreshing to see that (l «SF) has chosen its films wisely, and that the num erous awards... are well earned indeed." Staff Alex Demyanenko. VILLAGE VIEW ★ ★ ★ ...this is a windfall...a fine first" Contributors David Elliot. SAN DIEGO UNION Denis Faye A nna K ent ANDALUSIAN PICTURES PRESENTS Christian Lincoln Alex Maclnnis THE 1ST INTERNATIONAL Terrence C. Meyers FESTIVAL OF SHORT FILMS Assistant Editor “Bringing You the World’s Best Live-Action Shorts” r a s a Pax Wassermann This unique & highly entertaining collection of films from New Zealand, Canada, Great Britain & the USA includes: AH thôHmëi E d ito r TOM GOES Satisfaction Guaranteed METAMORPHOSIS TO THE BAR THE CHILDEATER Brian Banks (Canada) IUSAI (Great Britain) If you are unhappy with your purchase for any W inner ■ Palme d V r Cannes Best Short-Berlin International Film Festival Academy Award Nominee reason, simply bring it back within 14 days for a full *lnspired...a brilliant work.* ‘A true gem." ‘Exquisitely wrought.* Kevin Thomas, LA TIM ES Alex Demyanenko. VILLAGE VIEW Kevin Thomas. LA TIM ES exchange or credit. plus 6 other exceptional & award-winning shorts. The films in this diverse group are some of the best the medium has to offer. SHOOT ALL NINE FILMS SCREEN AT EACH 2-HOUR PERFORMANCE morninglory FOR APRIL 3 rd - 6TH ---- music PRIZES 33 W. 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N ight . , WÊSKB m nreview Thursday, April 2,1992 3 A Festival Weekend Schedule FRIDAY SAT. 2 pm A it Museum ? 5 .0 0 p m F iesta Feature Documentary Canadian Cmema SB Inti Film Festival US Premiere | , The Latter Portion of the Independent-Minded Discovery Short Ä The Leader, His 'D river and the Love-Mot SÉMI I Driver’s Wife - *i (Oitadian, 1991,13?, $7) Program Offers Some Worthwhile Picks I (England, 1990.1:25, ^ s i i l i p m w e « a ; Legs Best of British ' ' 1 Bv Alex Maclnnis (U S A , \ On The W ire ♦30 pm Fiesta (England, 1990,135. $7) resumably you the Very Big Fish (l p.m. World Caente 7 :0 0 p m F ie sta realize that we are Saturday at the Fiesta) and WbrtCoMt Premiere W orld Cinema ' in the middle of a cinematographer extraordi­ Escape (rota “Liberty" CTnema W&ÊÊmÉmM( 1 (Poland, 1990,1;4G, $7) (Australia, 1991,130,$7) P film festival.