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Page 29 text:
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Someone once mentioned that the best experimentation with new work, as often as it may happen, occurs in the catacombs beyond the vomitory. And the best audience for this work is the young and innocent, because to them, it’s all new anyways. The environment for an exciting season of theater was just right here at URI, and before our university reached the bottom of the cultural rill, the Theater Department was awarded a grant from the National Rockefeller Foundation. In a society w here TV is the largest and most popular stage, where talented efforts of young artists are generally washed out in the mixed colors of advertising, and Americans rally to the sight of Mr. Clean and the Pillsbury Doughboy, URI has replied with an enriched season of plays. Endgame
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Page 28 text:
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FALL THEATRE by Stephen Andrade Something about the seeming independence of the theater is shattered when I realize that no matter how good or bad a play is, the script is just a piece of literature, and the Drama Company means people who act. Neither stand on their own, they balance. But what comes first, the good script or the good actor? The Theater cannot simply rely on a great script. Greek classics which should by now be the most worn out plays in history, make big comebacks. Then new plays, written to express 20th century living and contemporary characters can’t find the inside. (Everybody is a critic, and I always lost true meaning in the interpretation, etc., etc., etc.) This means that even if the company shows a 2,000 year old epic, the actors’ experience on stage is preyed upon. So why is it that in America the unknown actor, artist and playwright are hungry and tired? What happened to the romantic Barrymore myth of drinking all night and rehearsing all day? It’s a culture-starve.
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