Page Six
JEWISH   WESTERN BULLETIN
Fridovr Jian«qry 6^ ji?5^
ofTi
THERE ARE THREE ASPECTS to the-theatre's role. In the first place, it is a key art form which attracts a very high proportion of the nation's talent. It is a safe guess that more young authors today are trying to write plays than novels or poems. Around the three main companies of actors—^Habimah (the oldest, generally agreed to be the national theatre), Ohei (sponsored by the Kistadrut, but less successful than most of the labor organizations' ventures) and the Chamber Theatre (which in ten years has managed to acquire an excellent reputation for conscientious production and a taste for the less hackneyed theatrical fare)—aroynd these three groups cluster any number of young hopefuls, many of whom try their hand at organizing their own-company  and  producing inde-
(reprinted from Congress Weekly)
;T rISITORS from abroad are often mildly surprised to find in : V iarael varied and highly-developed cultural activities and achievements. Ihe world outside has stopped wondering at Jewr ish prowess at arms or even accomphshment-s in agrirajitu^ de^i the legend has grown up that all Israelis, but particularly 3iabras, are degenerating into a race of ignorant and insensitive people who shun the rarified mteUectual pursuits that often dis-tipgai^ their'cbusiiis overset. The fact that Israel features iri ;the headlines chiefly as an area of political stress leads to the exjjectation that it is a country whose population, since it lives under a cloud of viofence, cannot have the energy or'witi for anything, more than essential industry, .eommerce and niiUtary training. Jt is true that a prof ourid interest in Israel's current political and military situation is a cardinal aspect of life in that coiintry. But at the same time there is no disposition to give up those cultiiral interests which make existence significant and pleasurable.
Books pour from the preses; literairy journals abound — though there are ^ways some dying and others about to be bom. Painting and sculpture, the composit ion and playing of music flourish. Foreign artists, particularly musical, come in i^rge nim>,bers for so small a coimtry. There are several literary cafes akin to those on the^ Parisian Left Bank: And there is a full-blown artists' village—not for tourists but for some of the most competent painters in this country. There ^e clubs and societies, some with party alignments and some not. Names such as Ag-non and Shlonsky command respect and admiration which fe^y, if any, of the nation's political ■- leaders can hope to gain. And finally, there are the aca-, demic institutions — the Hebrew University, the Haifa Institute of Technology, the Weizmann Institute of Science —■which provide facilities for a great deal of significant .work in varied areas of science and the humanities.
In short ,the intellectual is well provided for, though of course not as well as he would be in one of the great world capitals.
But what about the common man who is untutored ^ri -the arts or lacks education? This is an important question for two reasons. First, as is well-known, half of the country's population has been here less than eight years Imd many of them are from particularly backward countries by western standards. Second, it is generally agreed.that so small a country in so difficult a situation can ill afford any social barriers. The barriers exist—^social, economic, even religious—but nobody likes them, few are willing to admit their existence, and everyone would like to see them eliminated or at least diminished. Accordingly, great efforts are ex- • pended not so much to "bring culture to the masses" as to bring the majsses to culture. It is here that the theatre plays a most important, role.
pendehtly. Incidentally, it;^6uld be noted that in Isra^, uifli^ for example, the Uiiited there Is no free market of actors from wiiich producers can Meet talent wj^en they set out to istage , a play. T^e' comi^ ; have, in addition, their o^wn'dire^^ and stage niechanics.' It is all in the cooperative spirit, "as is common in IsrseL ' '
The second aspect relating to the theatre's iqle, centres about the use of the JH6brew tbngtie. ^^I^ may seem obvious to remark th^t Israel's theatre operates injHe-isrew, but this is ntiore imtjoitant than it sounds. Apptf^^ radio, is is the only medium of
I..... i
AARON COPLAND
will
Vcincoyyer Synrijphonir
AARON Copland, America's best known contemporary composer, will appear as guest conductor witlT the Vancouver Symphony Orchestra, here, on^ Smidayi January i 22. Mr. Copland will be the first of several outstanding Jewish personalities in the world of music to perform with the Vancouver $ymphony this
One of the pioneers of western and Mexican themes Mn .classical composition, Copland's earliest music was -heard in United States over 30'yeai's ago. - « -
His first orchestral performance, a Symphony for Organ and Orchestra was-given by Walter Damrosch and the New Yor Symphony Orchestra in January, 1925. In 1930 this brilliant composer was the recipient of a $5,000 aiward from RCA Victor for his Dance Symphony.
Appearing as pianist, condurctor and lecturer, Mr. Copland made a goodwill tour of Latin ^ American countries u n (d e r governmeht a u s-pices in 1941 and again in 1947.
Aaron Copland's works' haVe been performed extensively throughout the world. On several occasions, his
works have been, chosen to represent the United States at International Music festivals.
He has been commissioned to compose works for many well-known organizations, including the,Columbia Broadcasting Company, Ballet Russe de Monte. Carlo, The Koussevitsky Music Foundation^ National Broadcasting Company and the Elizabeth Sprague Coolidge Foundation.
A past president pf the An^erican Composer's alliance, Copland has lectured on contemporary music extensively throughout the United States. He will also lecture here at UBC during an intensive four-day visit.       .        ' , ,
Mr. Copland has taught composition at Harvard University and at the Berkshire Music Centre, where he is assistant director and head of the composition department. He is also the author of three books: "What to Listen for in Music", "Our New Music" and "Music and Imagination."
His reputation has expanded beyond the limits of the concert and recital hall to'opera, ballet and movies, His score for the film "The Heiress" won for him the "Oscar" in 1949 from the Motion Picture Academy of Arts and Sciences. His commissions for the ballet stage include the ever-popular repertoire pieces, "Billy tiie Kid", '''Rodeo" and the "Appalachian Spring," The latter score won the Pulitzer prize and the New York Music critic's Circle award in 1954.'
Most of Copland's compositions have been recorded by the major recording companies in the United States and abroad.
On April 1, 1954, Mr. Copland's two act opera "The Tender Land" was premiered by the New York Opera Company. "Can-/ tide of Freedom" received its premiere May 8, 1955. This work, an orchestral piece with choral epilogue, was commissioned by the Massachusetts Institute of Technology for the dedication of its Kresge Auditorium.
On,Sunday January 22. Aaron Copland will.conduct the Vancouver Symphony Orchestra in Beetho\'en's Symphony No.. 7. He will also conduct the orchestra in three of his own compositions "Four Statements",  "Appalachian  Spring" (Ballet score) and the "Danzon Cubano."
In an article on Copland, Winthrop Sargent has written "Any glance at the state of contemporary music in America must take in Aaron Copland. As a leader, Copland heads what is probably the strongest movement m American composition at the present time. Critical analysis of his work and esthetics is therefore very important to anyone concerned with the future of music in- America." ,
entertainment tliat readhes directly a pi^ . it is^;t3rue Ijsns^
but that is hot the saine as spoken Hebrew. Lit^raiiireis^^^^^^^^ in Hebrew,   but   is   not, strictly speaking, a popular: medium. It is spoken Hel>rew that is a^^^^v^^ hicie of co^nmbh appreciat^^ enjoyment. It matters little whe- . ther the play is a localbiie'or riot. When king JLear rbar^ his way across ^ the heath in ^!onsk;^*s translation, he is comprehen^le
- to every high school student, just as Moliere's miser is, or the hero of a modern Broadwiay or West End comedy. In a country where a ^pzen languages are freely used, and which is small enough
' for the cultiural pressures of the powerful nations to be felt through in^ported books, periodicals ^iand, films, there is something enormously refreshing in the theatre. Here the Israeli can
, really feel at home: Here is a place where the Israeli is spoken to in his Own language.
This is wheije the third aspect of the theatre'^ role iri Israel'' comes in. Because it is the only important domestic mediimi of eiitertainment, it attracts far wider audiences than do theatre companies abroad. The kind of person who would never dream of going to the theatre in Europe or America goes quite frequently in Israel. He finds it less taxing than the cinema. Not that the cinemas are not pacjked, but they still lack the intimacy prpyided bjP the language shared by Israelis.
The result is that in the theatre all levels of Israeli society meet, anid the theatre companies must try to cater to all.' They do so by producing an often bewildering ly varied repertoire Over a given season. Shakespeare will be followed by "The Tieahouse of the August Moon,^' which wiii^ be followed in turn by a farce pit— ting -kibbuti^ 'aga^ lif^; . When they produce Ibsen, they lose money, but 'are praised by the critics. When they produce
something like the "Teahouse", they are charged With succmhb-ing to th^ box-office, ie., the lowbrows.
Biit they go on producing all varieties of theatre, and essentially that is a good thing. < For not only 4^ ^^aiijqh. to
; n!»ke lib the^^ tipnal f om of jui;, s^^ by ail inteilectual levels of the pNop-tilation, but it has, also saade the theatre a most important" emica-tional force; It teaches the- language, for One thing. It introduces the general public to the" great drantatic ^classesi for another. Moreover, the professional companies do not limit themselves to Tel Aviv. They, travel all Over the country, to small towns and. large; to villages and kibbutzim. Arid because the tiieatre is able to reach mass audiences and enjoys a "national" status, it has engaged tho interest of serious artists and authors. It i§^ ^ppi;^ wonder that as was meritictoed earlier—every other literary hopeful is writing a play.
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