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e\ es' +" il 4;L William Hurt in Kiss . of a Spider woman, as Mollna, a homosexual window-dresser imprisoned ona morals charge Movie Madness After a short break for the midyear university vacation, the for three consecutive films. temporary membership of R6,0C Performing Arts Filin Society at Wits University recommences on 21luly. Fourteen Monday evening screenings have been scheduled until the end of the year, of which the following have been confirmed: 28 JuIy - The Man From Laratnie - Anthony Mann/ USA/1955/B & W/ 101 minutes. 4 August - The Goalkeepers Fear of the.?enalty - Wim Wenden/'West Germany/Aus tria/S witzerland/ I 97 1/ Col/l00mins. 11 August - Local Hero Bill Forsyth/GB/1983/Col/1 1 I mins IE August - A Woman is a Woman (Une Femme est Unr Femme) -Jean /Lvc G oddar d/Franc e-Italy I | 96 I I CoV85 mins. N.B. The sueening of thb fils on l6 June was cancelle due to itr non arrival from overseas. It it had still not been received by 18 August, the substitute will be Week-End. Jean/Luc In addition to the regular Monday screenings, a mini-seson of Three Specialised Comedies has also ben arranged for three consecutive Tuesdays, at the same times and ia the same venue as on a Monday evening: Tuesday 22 July - La Ronde Roger Vadim/France/1 965/Col 112 mins. The second filming (the fust was by Max Ophuls in i951) of Arthur Schnitzler's famous play, 'LaRonde' (Round Dance). A production of this play has recently been mounted by PACT Drama. Tuesday 29 July - Boudu Saved From Drowning, Jean Renoir/Frartcell932/B & w. This is the first filmed version of the play which also served as the basis for Paul Mazursky's recent, and very popular, 'Down and Out in Beverley Hills'. Renoir's is highly regarded as a comic gem in its own right. TuesdaySAugust - The Ritz tuchardl-ester/usA/ I 976lCol/91 Godard/France/ 1967 I CoU 95 mins. min 25 August - An Actor's Brftish director Lester's ('A Revenge Kon Hard Day's Night', "The Three Ichikawa/Japan/ 1963 / CoU 112 Musketeers' etc) filming of a mins. successful broadway'bedroom I September - Between farce' has become something of a Wars -Michael cult classic. The senilg, with some ThornhilVAustralia/l 975/Col/ 100 mins. Screenings take place at 17h30/5.30pm and 20h00/8.00pm in Senate House Lecture Theake 5 (SHB 5), and ample covered parking for all intending moviegoers is available one floor belou the screening venue. A half-year subscription ol mernorable comic performances, is a New York City bath-house. hesented in conjunction with the Wits Gay Movement. The half-year subscription does not cover the Tuesday screenings, but temporary memberships are available for this purpose. Further enquiries can be made from Wits' Performing Arts R22,00 is available, and for iesr Administration, Telephone (01 I ) frequent viewers there is a 716-4051/3939. deadlykiss Seeing Kiss of the Spiderwomar during the state of <strong>emergency</strong> is a chilling experience, chilling in its reality and significance to this country and the struggle being waged here. The movie is set in a semi-solitary prison cell in Brazil. Raul Julia in his role as a political prisoner is thoroughly convincing and William Hurt, a homosexual convicted of molesting a child, is outstanding. The sensitivity and vulnerability which is conveyed through Hurt's performance is complemented by and contrasted with t}le feminist (but not feminine) attitUdes of Julia's "political" character. The relationship that develops between these two men is further accentuated in their different ideological stances and the manner in which these alternately divide This movie deals not only with ttre attitudes of society to so-called "misfits"- a homosexual and an activist but also with the personal pain and feelings of guilt of the nvo men. The revolutionary, who is in love with an upper class woman feels tiat he is beuaying his cause. This highlights his emotional, social and ideological conflicts. In relation to the South African situation this movie comes extremely close to depicting what may be happening our prisons to political activists and what may have motivated many of the activists now occupying those prisons. Kiss of the Spiderwoman could well be set in Diepkloof or John Vorster Square. The message conveyed about the repression of anti-government activities is one and unite them. that all South Africans should hear. Jim Joel Jive The sixth annual Jim Joel recognised overseas musical instifution, thus furthering the career Competition will take place in The Wits Great Hall over four evenings of the young musician who between Wednesday 30 July aad annually receives it in a manner Sah.uday 2 August" which he or she might otherwise A total of ten talented young have found financially impossible. musicians will compete for the The scholarship was awarded most generousingle musical prize first in 1981 !o clarinettest Clifford awarded in South Africa. Wybrow. The next year, 1982, the Instiruted in 1980, the prize is recipient was pianist Anton Nel awarded annually by the (who had previously won the Johannesburg Consoiidated lnvest - SABC Music Prize). In 1983 'cellist ment Company Ltd ("Johnnies"). Ilse-Mari van Wyk won it It is named in honour of the and in 1984 the recipient was company's Life President" a greatnephew of JCI Ltd's founder, Last year it was won by pianist percussionist Cinzia Honnorat. Barney Barnato, and was the idea John Rindel. of Sir Albert Robinson. a former The Jim Joel Scholarship is chairman of the company. limited to senior or post-graduate The terms of the scholarship students of the wits Universitv required that it be used at a School of Music.
The view from t m r I r I I I I I I t I I u ta r). I t I I I ut- 'C ss )l ) rf Llly Grahamstow rlrrltlt The fact that the theme for this year's Grahamstown Festival was originally "The influence of Russian emigrees on Western Europe" (later changed to the amorphously enigmatic tleme: "Encounters"), reflects sadly the culpable disregard of the organizers to the importance and quality of specifically South African theatre. Nevertheless many of the productions asserted their relevance to present day South Africa. The poet, Maishe Maponya's "The hungry ear.th " shocked audiences with its enthusiasm and honor. Its violently stark depiction of family suffering under the migrant labour system swells quickly towards the conflict in the images of money-obsessed whites and black rural poverty. The gumboot dance performed so obsequiously for a group of tourists captures the loss of human dignity enforced on those lured by necessity into the homeiand/mine circle. Another fringe highlight was Wits University's production of Athol Fugard's "The Blood Knot" (This writer's choice for best play of the festival). Zane Meas and Kellam Beard playing "dark" brother Tach and "light" brother Marie, respectively, engage in a tensely directed exposition of racial tensions in their "games" of white roles and black roles. Director, Jerry Mofokeng, shesses that hope, though dashed can be revived and grasped at by working through and elimjnating the roles imposed by apartheid. The Blood Knot can be seen at he Wits TheaFe on Wednesday 23, Friday 25 and Saturday 26 July in the Main theatre at 8.0opft. By contrast,"Abamanyani", a popular and well received fringe celebration of dance and music displayed a rather disturbing lack of conflict It was an optimistic, il rather idealistic play. It's enthu- ,siasm, however, was refreshing ald inspirational and the suspicion that it periodicaliy lacked "bite" was mediated by its positive attempt at the fusion of black and white South African culture. Peter Dirk Uys's "Beyond the Rubicon"sees a welcome trimming down of the,burgeoningplethora ol Buzuidenhouts and other characters. The setis uncomplicated and stark - a huge torn South African llll I I I flag hangs from the rafteis sprayed with graffiti of "dangerous' organizations: Cosas, ANC, AWB and SABC/SAUK. Uys's gift oi capturing South African caricatures was hilariously executed and is for better suited tc the aftnosphere of a gym or a hall than to thar of a theane. More 6n- was Wits Uni - versity's entry "Laagerythms",a movirg enactment of the fears ani questions, the helpiessness and frustration of young white South Africans caught between their world and their conscience. This musical depicted all too real and painful situations such as the young man who loves his country but is not willing to go to the army to fight for apartheid. Between scenes like this and effective sporadic movement up and down the set which was all bars and benches the audience were left swallowinghard. Sincere, relevanl and expressive. Performances of Laagerhythms will be at 8.00pm on Thursday 24 and Saturday 26 July. There is also a 12.35pm performance on Wednesday 23Judy. "Nijinsky" was this year producfion by Andrew Buck_land, winner of the 1986 Young Artists Award for Drama. It is a one man performance set within a giant disintegrating cube of metal poles. Nijinsky's struggles to break classical ballet structures is paralleleo by the attempts of a young South African actor to breal culturai segregation, with his I I I I I ltl 'multi-racial travelling acting troop. These stories are ingeneously interwoven as An&ew Buckland whines chats and chants his way through the myriad corridors within the cube. As poles disappear, the visual breakdown of strucfure mirrors the hope for a corresponding personal freedom. The end is finally a reconciliation of tlis hope with the present. Splashed with painted handprints depicting the social being, contorting and twisting, he grasps at the "other", "the strange". Staccato speech patterns alienate the subject enabling him to look afresh. The .solution for Buckland lies in the ralization of the "sanctity" of every person-hurran interaction based on a mufual respect of humanity. A daring and original piece. A more wry look at the strange situations o[ individual subjected to life governing structures which are confusing and arbitary was presented by aftingecompany, "A room with a view" with their production of "slavic Triptych". The plays, "Striptease"(by Morzek), "Smoking is bad for your (Chekhov) and their own adaption of a Gogol short story, "The Nose" were presented with a witty and carefully understated enthusiasm which warned againsthe lulling effect of ideology. Of the dance productions the lPerforming Arts Workshop's "Alice" was outstanding for its powerful unconventional choreo - graphy and the costumes which, while deliberately disregarding 'figure flattery, with their lurid colours and fantastical, pulsating 'designs, gave a sense of fluidity and power to the dancers bodies. The initial slight irritation of Alice's "neo-balletic" stylization was later mediated by the shedding of her "pretty" skirt which tended to hamper her. The music was ;onventional and also tended to work against the more progressive and excitirg elements. Perhaps the most exciting dance production was "Dalk corners of a new mind" presented by fringe group BODA (Body of Despondent Artists)portrayingthe growth ol an innocent being into a world ol confusion and over-kill. Melge Janssen, the merman wants to learn to experience to reach the stars, tc live, to rench out every last breath, to moan, to whisper to incite. Life and death are sb-ipped bare, speech is reduced to stiited tilting and the joy of movement, of turning together in communication, sharing breaths, flexing, un- :onscious expression, gives way to the knowledge of experience. Especially effective was the limited use of music and the corresponding use of breathing and whispering in the small theafre. Within its bounds, the 1986 Grahamstown Festival seemed relatively successful in the cultural exploration of problems facing South Africa at the moment. However, the oppressive presence of the army, wandering casspirs and the curfew in the nearby black township were omnipresent reminders of the very dubious nature of an artistic festival in these times. Coupled with this, prices were generally too high for any but white middle and upper class "pafrons". The virtual nonexistence of biack faces in audiences seems to suggest that once again this "nationai" festivai was an almost exclusively white event._ The time has now come for the organizers to actively challenge performers and attract wider audiences by setting relevant themes.
Page 1 and 2: Wits Volume 38 No g 24 July 1986 A
Page 3 and 4: Subsequent events on campus on that
Page 5 and 6: il IITU'P f Efif I T'I'58 E EFSEffi
Page 7 and 8: pageT - Where have all our leaders
Page 9 and 10: ,,33'r!r!r""imrir#!555#!!!i!ttiflff
Page 11: Communalactio rs inthe frontline an
Page 15 and 16: [fi --r! I lrt m w.rur The state of
Page 17 and 18: Kiddie Kash K ll nsls For a long ti
Page 19 and 20: SPORTS Soccer triumph ffi:t3!!t't'!

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