University of California Los Angeles - Bruin Life / Southern Campus Yearbook (Los Angeles, CA)

Page 18 text:

The drama program at UCLA was rich and varied: productions were sponsored by the Theatre Group with the Committee on Fine Arts Productions and by the Theatre Arts Department. The year ' s productions included the highly controversial The Deputy, the Circle in the Square production of Euripides ' The Trojan Women, the American premiere of The Cage by Mario Fratti, a dramatic presentation of Yeats prose, poetry and plays, Anouilh ' s Medea, and Shakespeare ' s Tempest. The grace and style of dance extended from the most classical of to the more contemporary style of Daniel Nagrin. In the Art of Dance Series, UCLA played host to Balasaraswati the Classical dances of India, The Grand Ballet de France with full compliment of scenery, costumes and orchestra, Les Grands Ballet Canadiens, Murray Louis a prominent member of the Alwyn Nikolis Dance Company), and Lucas Hoving and Company (formerly a soloist of the famed Jose Limon Company). The Fall and Spring concerts, given by the Dance De partment for its Master ' s thesis candidates compared equally with performances by the professionals invited to perform during the year.

Page 17 text:

During the spring of 1965, a new dimension in University-Student relationships was A liaison was established between the large resources of the Grunwald Graphic Arts Foundation and the student body. For a nominal fee, any UCLA student could rent a graphic print executed by such artists as Ernst L. Kirchner, the expressionist; Georges Braque, or the artist Misch Kohn. All available prints, rented out on a first-come, first-serve basis, were contracted for. the remainder of the semester. Because of the enormous success of its first experience, the Art Rental ' Program opened this Fall with an exhibition of 200 prints, and offered for sale 50 sugar-lift aquatints of Small Bird done by Misch Kohn, who was commissioned by the Art Rental Program. The Program ' s success and growing popularity promised to enable every student to live personally with a piece of art, or even own it, in the near future.

Page 19 text:

On October 1st, 1965, UCLA hosted the 1st National Student Film Festival. Sponsored by the Graduate Student Association and the National Student Association, the Festival presented the ten prize-winning films chosen from a field of 35 finalists representing 22 schools, colleges and Universities. Divided into four categories (Fiction, Documentary, Animated, and Experimental), UCLA filmakers took six out of the ten awards given. The entries were judged by a panel of five professionals: Ernest Callenbach, editor of Film Quarterly; Pauline Kael, film critic for Vogue, Life, Holiday, the Atlantic Monthly and the New York Times Book Review, and editor of I Lost it At the Movies; Denis Sanders, film producer; Elliot Silverstein, director of Cat Ballou ; and King Vidor (Chairman of the Jury) established director whose list of credits includes A Duel in the Sun. It was easy for anyone who attended the Festival that night, to detect a sense of pride and excitement in what UCLA student filmakers were doing. For, as Pauline Kael puts it, American-produced films are so uninteresting now. That ' s why there has been very little relationship between film produced by students and professional companies. Because of this situation, the American film industry has begun to imitate student films. Perhaps UCLA is at the of growing movement.