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Page 26 text:
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LOS SOBREVIVIENTES We braved cold weath- er, biting winds, and a treacherous ride on a tiny and steep moun- tain road to experience this view from a monastery ' s grounds. Going io another country is a Inumbiing experience. Going in a group led by Dr. Adler is not only humbling, but exhausting as well. I ' ve never before met someone who took so much pleasure in walking uphill. That first day in Madrid was tough. I had never really under- stood the term culture shock before. We stopped at a cafe first thing for a snack — but none of us were brave enough to order. Kelly Etheridge was the first. Que es eso? she asked with a red face. After some struggling, she bought her first pastry and Coke. That was all it took to start Kelly ' s addiction to Spanish pastries. I decided 1 would order next. I ' d never thought 1 would have such a hard time ordering orange juice. I felt so self-con- scious, but I managed to spit out the words zumo de naran- ja, por favor. It worked, too — I couldn ' t believe it. During those first three days in Madrid, Dr. Adler told us that the trip would fly by. We, of course didn ' t believe HACECALOR. m a small town that was deathly still during siesta on a scorching June day. Tina Lx tt found a creative way to cool off. him. He was right, though. After our host families picked us up at the bus station rn Salamanca, the rest went by in a blur. Salamaca is a beautiful city with 300,000 residents that has a perfect mixture of historical sites and modern conveniences. Over the four weeks that we were there, the group was awed by everything we discovered. We saw an astronaut carved into the stonework on the New Cathedral. We were all scared by the legend of the frog on the wall of the University of Salamanca — if you could see him, you were supposed to be married within one year. We talked to Pedro Rodriguez, who roamed the Plaza Mayor, telling stories of when he was an extra in a movie that was filmed there. After our time there, we trav- eled throughout southern Spain. None of us will ever forget the smell of olive trees, the feel of a bus with- out air conditioning, or the sight of Dr. Adler actually sleeping. Going to another country is a humbling experience, but it ' s also a fulfilling one. — Kristin Burt 22
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Page 25 text:
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UNA photos by Chandra Dye DON ' T MAKE A MOVE. Mark Hampton prac- tices his assassination technique. Teeth did not let the audience forget it was an audience, and in fact heightened the audience ' s awareness of itself as a group of people sharing an experience. Mark ' s parents sat in front of us and the director of the play, John McCaslin- Doyle, operated a projector that was set up next to my own seat. He watched his young son perform, too, in the dual roles of a tele- graph boy and a defeated presidential can- didate. Anna ' s boyfriend spent his last few moments in that particvilar role sitting on the other side of Beth. All of us watched the play, having our different relationships with each of the actors, our own memories, our own opin- ions, sharing the plot with one another. McCaslin-Doyle says, in the director ' s note in the program for Skin, don ' t expect this play to explain itself. It won ' t. That ' s your job. Which is true — most of the art of performing is letting the audience have their own personal reactions. — Marc Mitchell Cast and Crew: Hercial Austin, Julie Barnhill, David Bishop, Joshua Stanley Bngan. Anna Brooks, Heather Cannon, Anneile Caspers, Natalie Cranston, Daryl Cnttenden, Bnan Davis, Sam Gross, Steven Gross, Mark Spencer Hampton, Chnstina Heline, Daniel Hopkin, Amanda Hughes, Clay Jeffreys, Anthony Joiner, Jeremy Lee, Austin IVlcCaslin-Doyle, Deena Meek, Matt Osborne, Rachel Scanlon, Diane Stracner, Sam Stough, D Evan Tucker, Krissy Warren, l yra Webb, Anne White, Allison Wnght, Danny Wnght. 21
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Page 27 text:
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OLE! At Los Gallos. a popular Flamenco club in Seville, the soulful singing and intricate dance awed us. VAMOS A COMER. Andrea Rutland takes time to feed the pigeons at the Parque de Americanos in Seville. UNA photos by Kristin Burl 23
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