Word: seltzer
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Dates: during 1960-1969
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...educational value, such as it is, preceded the Loeb and have not been greatly enriched by it. Ambitious attempts at combining drama with other art forms--unusual music, or original sets--have been notable for their absence from Sixty-four Brattle Street. As for the repertory of plays, Seltzer lists three kinds of plays a university ought to perform: "chestnuts," rarely produced classical plays, and very new plays. The Loeb's recent seasons have been heavily weighted towards the first category, with the second represented once or perhaps twice a year, and the third much too rarely...
...Seltzer lists five reasons why drama should flourish in a university. Theatre makes use of other art forms he says; it valuably illuminates the connection between literature and history; in a university it finds a true amateurism; it is of value to individual students' educations; and it can help establish a permanent repertory of plays...
Strangely, the spirit of experiment--which Seltzer considers one of the undergraduate theatre's greatest potential advantages--scarcely exists on the Loeb main stage. Babe's article suggests several reasons why this...
...question of acting raises the issue of courses in drama, and on this score, Harvard has done something of an about-face. Courses in the dramatic arts are not only accepted, they are downright welcome, as the official encouragement of Daniel Seltzer's experimental courses shows. The effect of this encouragement has been to leave the development of courses in drama entirely to Seltzer, a noble figure who has been trying to get Harvard to adopt courses concerned with theatre for years. If things continue at their present rate, the seed planting will no doubt some day grow small...
...Seltzer is trying the same idea on a smaller scale next year in Hum 103, but it is by no means certain that this will work, for even with too many people in the course, director George Hamlin had to reach outside Hum 4 for part of his cast...