Word: loeb
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...CRIMSON'S majority opinions favoring such a course, expressed the idea that offering credit for acting in Loeb productions would give talented undergraduates an opportunity to devote great attention to the productions without being put in an impossible bind academically. Thus, the editors reasoned, the need for graduate and professional actors would be eliminated. (By "professional actors," I mean, and assume the CRIMSON means, qualified people able to devote the major part of their time and energies to improving as well as exhibiting their craft...
...expended much time and energy without being given academic credit. True, undergraduates have, with classic exceptions, devoted less than all of their time to theater. But one course producing one play per year will not release students from enough academic obligations to cast and staff a full year of Loeb productions. A curriculum of many courses would make a significant difference, but we are told that Harvard will not create a drama department. (Obviously such a department has no place in the College.) No doubt those undergraduates who are given academic credit for a course that includes working...
...course proposal is designed to improve the general level of Loeb productions it is clearly inadequate. The best men in the profession can't make actors of professional quality from raw undergraduates in one year. But if the course is available as a full course to the same student through two, three or four years, it will become in effect a major field of concentration. Since qualified professional teachers will be unwilling to stay in Cambridge indefinitely, especially if they must begin with a new batch of sow's ears every year, the administrators of the course will be faced...
...necessarily condemn the idea of an Olympian troupe in the Loeb disguised as students. But its implications should be faced. George Pierce Baker's 47 Workshop attracted special students of magnificent promise--Eugene O'Neill, for instance. But Baker was teaching playwriting, a more appropriate subject for a liberal arts college. If profesional acting teachers are brought in on a temporary basis and special students comprise the essential core of the course, why offer it to Harvard College? If such a group were to stage only one play a year, the value of the College qua audience is hardly worth...
Even assuming only "real" undergraduates were taken into the course, the nature of the course proposal itself illustrates the critical conflict which the Loeb administrators are attempting to resolve. It would combine elements of English literature courses with elements of actor training. Putting a course in acting into a course in dramatic literature does not make acting a proper subject for formal study in Harvard College Many great actors have been uneducated and inarticulate. Many of Harvard's best actors have not been concentrators in the Humanities. Will an A student in English honors...