The gamecock. (Columbia, S.C.) 1908-2006, November 11, 1976, Page Page 15, Image 15
I IT SEEMS TO ME, DOCTOR. TH/tf Ak
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To the Editor:
In my seven semesters at USC, I have
generally been able to regard the Gamecock as
a fairly responsible journalistic organization.
Although I have often disagreed with and have
occasionally been disillusioned by the opinions
imposed on commentaries by the writers, I
have almost alwavs been able to find some
worth in what I have read. However, upon
reading Terry Dugas' review of "Hair" in the
Oct. 25th paper, I am convinced that the
Gamecock has finally printed an article with
literary worth comparable to a blank page.
I am fully aware that it is a drama critic's
prerogative to express his own opinion however
biased or emotional it may be, but he does have
some responsibilities to his subject and his
reading public. First of all, he must have at
least a basic background in drama and must be
able to use framatic terminology accurately.
SwnnHlv hp must ho ahlp tr? ovnrpcc hie
opinion clearly and concisely without contradictory
statements. Finally, he must understand
the script and support any claims he
makes with truthfully perceived evidence.
Mr. Dugas fails embarrassingly in his first
responsibility. The term "naturalistic drama"
was coined by Zola in the late nineteenth
century to define "slice of life" action with
which the playwright attempted to mirror real
life exactly without imposing theatricality or
artificiality. It was one step beyond Ibsen's
realism. The mere existence of song and dance
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EDITOR'S NOTE: The sentence "As a whole.
the play fails on an intellectual level because
the burning concerns of 1969 are no longer
existant," was rewritten on the copy desk,
numbers in "Hair" removes it from the gender
of realism, let alone naturalism. Also, in
Dugas' statement that the acting did not
harmonize with "the militant naturalism 01 the
songs and the expressionistic setting," a total
absurdity is stated. To begin with the set was
not at all expressionistic, and even if it had
been, by nature the two elements of naturalism
and expressionism could not have existed in the
same theatrical production. They would nullify
each other.
.Alright Mr. Dugas, lack of adequate
knowledge of the subject I can dismiss as a
limitation of human nature. However, after
11 _ At A. ? A A HA _ 1 ? *
,reaumg me suuemeni, as a wnoie, ine piay
fails on an intellectual level because the burning
concerns of 1969 are no longer existent," I
lost all faith in your credibility as a critic.
Going by this assertion, I suggest that you
contact the government and have them remove
from the libraries of the world the pieces of
literature concerning dated "burning concerns"
such as "The Crucible", "The Three
Sisters." "Lvsistrata." "The Persians."
"Mother Courage," all of Shakespeare's
history plays, "War and Peace," and so on.
Since it is said that you are affiliated with the
cinema, I also suggest that you do away with
"Gone with the Wind," "Doctor Zhivago,"
"The Rise and Fall of the Roman Empire,"
"Hiroshima Mon Amour," and "The Battleship
Potemkin," to name a few.
I direct this paragraph to the copy editor of
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unintentionally changing the meaning. The line |
should have read, "burning concerns are no I
longer burning or no longer concerns."
the Gamecock. How can you allow your
newspaper to place in bold letters, blocked off
to bring maximum attention, the most
ridiculous statement Mr. Dugas makes in the
entire critique? To say that a play with limited
dialogue cementing together twenty-six songs
1 A.1 . A. ? -1
ctnu suggesting intricate cnoreograpny nas as
its least intent, "to entertain" is like saying
that the Bible's least intent is to inspire. Surely
Dugas realizes that the impact of the RagniRado
script comes from the fact that it does
entertain; that the audience comes to love the
characters and thereby sympathizes with their
plight.
Because of the incredulous misinterpretation
of the script and the lack of knowledge of the
art of the theatre, I do not feel inclined to harp
upon such journalistic ineptitude and petty
subjectivity as the contradictory statements
about the song "Hair", the inability to
distinguish between the play and the production,
the failure to underline or italicize the title
of the play rather than place it in quotations,
the lack of research into the amount of
creativity and inspiration provided solely by
the condemned director, the total oversight of
one of the strongest areas of the production
(lighting an<| sound), and the obvious insensitivity
for the physical and emotional
levels of the acting. I will rest by asking a simple
question: Gamecock, where do you dig
up such writers? F. LEE McCONNELL
theatre senior
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Fan gives
team support
To the Editor:
This letter is in response to
the letter written by Stephen
Herchak that appeared in the
Gamecock on October 28.
It seems that Stephen knows
little or nothing about football.
Using our last time out would
only prolong the game. Notre
Dame had plenty of chances to
run out the clock by just falling
on the football. I'm only
grateful that Notre Dame
didn't attempt to score at the
end of the game.
It's not a matter of quitting.
It's a matter of pride and
knowing when the game is
totally over with.
ii we naa usea our iasi ume
out, the outcome of the game
would have been the same.
I would like to ask Stephen if
he was one of the fans that
continued to boo after the
questionable call by the official.
The play (fumble)
happened with approximately
one minute left in the game. I
disagree with the call, but the
booing only managed to run
the clock down to about 30
] _
seconas.
I am proud of our team!! I
think they gave superior effort
throughout the game. Coach
Carlen and the entire
Gamecock football program
should be commended on the
way they have worked this
year.
I also believe that Mr.
TT 1 1_ 1 1 .. _1 A _
HercnaK snouia noi question
the effort of our team just
because one timeout was left
on the scoreboard.
BILLFENTERS
physical education junior
rmpoMii
FREE TONIGHT!;!
^|THE LEFT GUARD;;
5' | , cominS !;
5; EX I A better show ;>
*i |than^other's Finest; I.
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