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Page 33 text:
“
Austin State School Welcomes Psychology Students To Reality Innumerable critics of education have said many times that college is all theory and no practice; that education likes to stay in an ivory tower of sorts, and let reality come crashing down two weeks after graduation. Without a doubt this is true in many cases, but it stops at the Austin State Hospital. Such that, the real world gets a few kicks in a year before graduation. The psychology intership at the hospital usually lasts all of the spring semester of a senior ' s year, but it only takes about a week before a senior is quite sure that the seemingly endless hours of books are not quite so bad after all. A day begins about 6:00 in the morning, which is not so bad except that bedtime was about 1:00. Then comes the thirty minute drive into Austin, and about the time that your body has decided that sleeping in a sitting position is not so bad, you are there. Where you go from this rude awakening is up to you. There are hyperactive children to follow, autistic children to hold, beaten children to comfort, adults defeated by a too complex world to be wakened, adults with illnesses that nobody really understands to give companionship to, and the ever present rumblings in the back of your mind that says that none of these people are really that different from you. The frustration, anger, sadness, hope, and exhaustion are all overshadowed by only two potential things. First, there is always that flicker of joy when someone moves and changes. Second, is the knowledge that everyone here is a person no different from yourself. Generally, it takes about a week at the hospital before books and papers begin to look appealing again, but it takes closer to twelve weeks for even the most sensitive person to begin to appreciate the little joys, the little surprise, and the joy of being able to go from place to place everyday, without having to be cleared or given a day. When the little things begin to matter and you finally believe that there is nothing wrong with crying, you have started. Welcome to reality. Jim Ferris
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Page 34 text:
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75-76 Artist Series Yielded Fine Performances The 75-76 Artist Series opened with the sixth Southwestern appearance ot the immensely popular Preservation Hall Jazz Band (Pic. 2). The band ' s authentic blues and hot Dixieland jazz was accompanied by much foot-stomping and hand-clapping, on the part of both the performers and the audience. In fact, when the musical orgy had come to an end, it was difficult to distinguish between these two groups as many of the latter — led by President Fleming-— had joined the band onstage to create a makeshift dance floor to the tune of When the Saints Go Marchin ' In. In November the New Shakespeare Company of San Francisco staged its interpretation of Billy S ' s popular comedy As You Like It. (Pic 1). The production, enhanced by the addition of modern if off- color vocabulary, references to current controversies, and even the singing of popular-though-Baptist tunes, not to mention a southern drawl which flowed from the mouth of one character, was performed with true Shakespearean spirit and gusto. The third event of the season arrived in the form of a two-piano concert of the husband-and-wife team Yarbrough and Cowan. Highlight of the evening was the artists ' spectacular performance of Aaron Copland ' s music for the ballet Billy the Kid. Re-opening the Series in January was the Alpha-Omega Players ' bicentennial revue Heroes and Hard Cases , which took a fond, if slightly irreverent, look at America during its good moments as well as during those which were perhaps not so good. From a lecherous Ben Franklin to an uncoordinated Neil Armstrong, the four members of the cast took on a variety of roles and moods, including one moving scene performed in Indian sign language. In February Alma Thomas Theater became the scene for yet another bicentennial production when Jimmy Driftwood and the Rackensack Folklore Society presented Music of the Ozarks (Pic. 3). Later in the month, Southwestern was host to the Texas Opera Theater, a troupe of young and exceptionally talented performers who travel across the state to reach those who do not have access to the Houston Grand Opera, the troupe ' s mother company. Southwesterners viewed an absolutely flawless production of Rossini ' s Barber of Seville. The presentation was sung in English, and can only be described as opera at its best. Continuing in a classical vein, the Artist Series closed with pianist Drusilla Huffmaster, SU Artist-in- Residence, and Werner Tripp (Pic. 4), solo flutist of the Vienna Philharmonic and Vienna State Opera Orchestras, also Miss Huffmaster ' s son-in-law. Performing with the perfection and professionalism expected of musical virtuosos, the duo charmed its audience with such works as Poulenc ' s Sonata for Flute and Piano, Debussy ' s Syrinx for Solo Flute , and Liszt ' s Etude Transcendental, No. 10, a solo played by Miss Huffmaster and dedicated to her friend Miss Ima Hogg, the recently deceased great patroness of the arts. ?JAZZ 30
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