Word: mr
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Dates: during 1950-1959
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Bridge lovers will appreciate your Goren article in the Sept. 29 issue. But you seem to credit the increased slam bonuses to Mr. Vanderbilt and some of his friends...
...Mr. Titcomb did not advocate professional direction as a general policy, either in or out of the new theatre. He was careful to say that non-student direction is desirable only "occasionally...
...Mr. Titcomb persuasively argues for undergraduate concentration in drama and intimates strongly his approval of professional direction and supervision in the new theater. Although he presents some arguments against both of these positions, they do not reflect quite accurately the concern felt by many undergraduates interested in theater...
...primary objection to concentration in theater is that it is direct and overt training for a profession, exactly analogous in this respect to a major in journalism or physical education. Harvard has never encouraged narrow preparation for law or medicine and it should not do so for the stage. Mr. Titcomb argues that theater, in embracing many arts, conforms to the spirit of General Education. It seems to me, on the contrary, that the theater is a hierarchy and combine of specialties whose interrelations are strictly pragmatic, designed for efficiency in production, not for artistic cross-fertilization. Furthermore, the theater...
...great virtue of Harvard theater is the versatility and wide range which the present fluid situation makes possible. The reason for the vast number and variety of the productions Mr. Titcomb enumerates is the freedom from imposed standards of any sort which the Harvard director now enjoys. It is felt by many that the advent of concentration in drama together with strong faculty supervision in the new theater will result in the loss of this freedom. This is why the request for continued student autonomy in productions, so churlishly and peremptorily rejected by the Faculty Committee For The New Theatre...