The Sydney Morning Herald from Sydney, New South Wales, Australia • Page 16

Th Sydney Morning Herald, Sat, Jan li 1979 15 Chica go road Imag es A of the city forces in rock, spanning a decade with songs like Saturday (In the Park), Got to Get You Into My Life, Does Anybody Know What Time It Is Cetera says: "We've stayed with our Sound and adapted it to the feeling of the time The kind of music we play is the kind that sticks around; Chicago is not a fad group." Donny Dacus, the lead guitarist, describes the band as a "real family." The present manager, Jeff Wald (who also manages his wife, Helen Reddy), is making the band into a group of recognisable individuals; once it presented a corporate image. After this tour, the band will go back into the studios with Ra-mone to record Chicago XIII. You Leave Me Now, and Boy What a Big Surprise. He had the melody for If You Leave Me Now for months before he could finish it. It sold a million copies.

"It was so fulfilling to write that song. It took so long," he said. The creative process was not so difficult for Happy Man, which took about half-a'n-hour early one morning when Cetera was on a motor-bike ride. Despite the aspects of tours he does not like, Cetera still finds being on tour "like having a really good night out with the boys over a period of weeks." He compared it with "being with your psychiatrist" almost therapeutic. That feeling of unity and camaraderie communicates itself with the audience.

Chicago has been on the road regularly since it began in 1967 as the Chicago Transit Authority, under the auspices of James William Guercio. He was manager until 1977. Most of the members of the group dropped out university together. In 1969, gaining popularity, Chicago did 261 one-night stands across America. really felt like giving it all up," said Peter Cetera.

But nobody did give it up. Chicago became one of the cohesive rnH at thp enrt nf thp by Angus Nivison, winner of The Sydney Morning Herald Art Scholarship for a City Heritage Painting 1 979 hi' 1 members will get some time Lamm is planning to work on his new album. Cetera will perhaps indulge his gipsy blood and Dacus is making another, film with Milos Forman, who di-' rected One Flew Over the Cuckoo's Nest. Dacus has already! had a part in Forman's film of Hair, ana he has agreed to play in the film of L. Doctorow's novel, Rag time.

si' 1 'f by CHRISTINE HOGAN PETER Cetera was looking disgusted with himself. His normally strong voice, the lacknowledged voice of Chicago, had let him down. On the first night of the band's second Australian tour, he was not getting the sound he wanted, And all eight members of the group were nervous about opening at the Myer Music Bowl, Melbourne, a week ago. The Sydney concert will be at the Sportsground tonight. "Sometimes Peter has a con-, fidence problem," said the keyboard player, Robert Lamm, at? a party after the concert in Melbourne.

Musing, he studied Ce tera's retreating back: .1 can't understand why he does." Cetera says that after 12 years and 12 albums he is still tll-at-ease in the industry. "People don't realise just how hard -physically and mentally being on tour is," he said. "Sure, parts of the life are glamorous. The limousines are nice; it's fun to have someone else pay your hotel bills. But there is a lot about being a rock 'star' that really isn't me.

"Things like the late hours, being away from home, and the booze I won't mrss them when I eventually give up being in this band." Cetera tries to maintain his routine whether at home at Ma-libu, California, or oin tour. With Robert Lamm, he jogs every day, and the other members of the band swim and play tennis whenever the opportunities present themselves. Being in the band means that Cetera is able financially to indulge his main passion travelling: "I just can't sit at home. If I have a few days off, we get into one of the cars, put the German Shepherd in the back and just drive up the coast. "It must be my gipsy blood.

My mother was Hungarian, and I just love to travel." His which gave the group a fillip when it reached a trough a couple of years ago, is done neither at home nor on tour. "I find it is better for me to write in the cracks between, when I am under pressure." Cetera wrote the band's hits of recent years, If i 1 ii Timi iiiiuinil- Lubw NANCY BORLASE reviews art THE standard of selected entries in the City Heritage exhibition, now on view at David Jones' St James's Room (seventh floor, Elizabeth Street store) is higher than that of last year. The support given the competition this year by a greater number of prominent modern painters, who have also lent their support to recent Archibald, Wynne and Sulman exhibitions, reflects an interesting reversal of attitudes towards the art prize contest which, for too long, has been relegated to a subsidiary role in regional outposts. In addition, the thematic content, now swinging into vogue, as the recent Venice Biennale indicates, is seen to be less a deterrent than a challenge. This is less noticeable, however, in the work of those middle-generation painters, among them Michael Johnson, David Aspdcn and John Peart, all of whom are identified with a particular abstract At the cot of possible compromise of their known styles their entries indeed bypass, rather than come to terms with, the theme.

While ar liberal interpretation is permissible, on the other hand, it does almost automatically disallow serious consideration for the major award. However, -it is disappointing that these three painters, in the shifting and volatile scene which pertains today, and which is reflected in this exhibition, are not represented by stronger works. As was the case last year, the majority of paintings submitted, a ratio of about 2 to 1, were for The Sydney Morning Ylerald Art Scholarship. Entries for this section from student or amateur painters (defined as not having had a solo exhibition) were also eligible for the big prtee (but not for both). No distinction, therefore, has been made in the hanging, thus providing without fear or favour a valuable opportunity and testing ground for the young or inexperienced painter to measure his work against that of the professional artist Since scholarship entries' comprise almost half the works hung, one can take heart that painting is far from being the Vpatient in crisis," as diagnosed by Terry Smith som years ago.

And if, by A awkwardness a virtue in his big, soot-grey painterly painting, ambiguously entitled Kubinat. Bcla Ivanyi is impressive and painterly in Memories of Bondi Beach, and Reinus Zustcrs overly ornate and turgid in an ambitious Sydney Cove 1788. Less ambitious is Hugh Hoskins's delightfully naive Blaxland, Lawson Wcntworth, Sydney, May, 1813. While Kerrie Lester makes a whimsical fcflc parody of Sydney Harbour Bridge out of painted palisades of stitched ties, with toy cars running around the outer perimeter or frame, feminism settles old scores in Roma de Wolff's Luncheon on Sydney Sands. In this pleasantly painting traditional roles are reversed: it -is the man, and not his women companions, who is naked.

And while Hugh Wayland, in Polaroid Paraphernalia, creates an optical dazzle in his mixed-media docunientation of the picture postcard syndrome, Darryl Lock, in a grid of canvas-covered box and drawer constructions, documents a series of interviews with a cross-section of Sydneysidcrs, from Roseville to Bondi Beach. His Eight Views Along a Line is reminiscent of Peter Kennedy's community-based Introductions. It is one of the most intriguing works in an exhibition which, in its thematic context, is essentially for the people. for a subject which in itself is as fanciful as any fairytale Disney set and as sweet and spongy as fairy floss. But somewhere along the line the essential spirit is lost as in this work, compared with his Archibald entry, Bloomficld switches from one mode of new realism to another.

The photo-realist school is coldly but competently represented by John Baily's The In--congruous Presence of the Sydney Opera House and by John Doherty's more mellow Period of Transition 11. In Peter Wright's attractive and sensitively handled strip painting, Sydney Harbour 1978, as in Baily's enlarged postcard views (in which he avoids the cliche image as one would the plague), the whole is greater than the parts. The Harbour, its foreshores and its ships re-, main a source of inspiration to be interpreted in as many ways as there are painters. Angus Nivison, whose large won him the scholarship, sees the Harbour as the side of a bulky container ship. This boldly affirmative statement, with its commanding if sombre presence, is a work of considerable promise for its grasp of essentials, structural strength and Nivi-son's sensitively felt paint handling.

Timothy Winters brings an oriental refinement, a subtlety of interplay between positive and negative shapes, to his Ships at Brown's Wharf, Woolloo-mooloo, whereas Fred Cress impressively makes fmmMimf Nivison affirmative the same token, one must allow for an uncven-ness of quality, the surprise is how well this exhibition holds together, after a severe pruning in the selection process. Kevin Connor's Poet and City, winner of the $5,000 Sydney Morning Herald prize, captures the spirit of Sydney as siren city, beckoning and "engulfing all comers. Connor is spontaneously and essentially himself; and this breezy, exalted yet partly elegiac painting, with its gravely patriarchal figure of the poet presiding over its infinitely fragile web of life, gains in authority as one picks up its threads of meaning. While Connor's expressive line gets to the heart of the matter, John Bloomficld, in his Luna Park painting Just for Fun a work more likely to win public approval than the Connor settles Peter Cetera end Robert Lamm jogging in Melbourne UNIVERSITY OF NEW SOUTH WALES MA (Pass) in ENGLISH ffwa rwi ffXfrs rvt) 5 ELIZABETHAN SYDNEY 2 Dramatist of apartheid I ORCHESTRA Applications are invited for the position of DEPUTY CONCERTMASTER The School of English offers part-time courses leading to the pass degree of Master of Arts. In each of two years students choose a course from a number of options (including, Shakespeare, and late C19th Fiction) and also attend seminars on literary criticism.

All classes begin at 4.30 p.m. Before formal application to the Registrar for enrolment, inquiries may be addressed to The Head of the School of English (6622243), from whom brochures are also available. with the Elizabethan Sydney Orchestra. The success- ful applicant will be required from time to time to lead the Orchestra. in i ui.ijaietiiHMijiiiiiiii -vo- The expansion within the Orchestra has created the( following vacancies for which applications are invited: One Rank and File Violin One Rank and File Cello One Rank and File Double Bass Fourth Horn In addition there exist within the Orchestra the i following vacancies: Associate Principal Viola Principal Bassoon Applications for the above positions will be treated A THE UNIVERSITY OF, NEW SOUTH WALES as coniidentiai ana snouia oe aaaressea 10: The Director or Music Elizabethan Orchestras P.O.

Box 137 KINGS CROSS N.S.W. 2011 0VS LAV2 1VS i3 graphs as the couple scrambled around for their clothes. "I found the circumstances really vile, and in the sense of being able to capture the assault on the privacy of the individual which the South African Government and its law involves, the needed nakedness. It is a major factor in the reality of the play, a necessary exposure." Olive Bodill and Anthony Wheeler, a South African couple who left their country six years ago in search of a more democratic upbringing for their children, play the two lovers in the Australian Elizabethan Theatre Trust's production. Their performances in Fugard's Boesman and Lena in 1977 won best actress and best actor nominations from critics all over Australia and New Zealand.

The writing period of which Fugard considers Statements the climax was inspired by the ideas of the Polish director Jerzy Gro-towski. Fugard worked in collaboration with the actors Winston Ntshona and John Kani, the three of them spending long" workshop sessions to shape the plays Sizwe Banzi and The Island. "That was a period when I left a lot of orthodoxies as a writer behind and worked very much more creatively with the actors. We literally sat down and, looked at each other and said: What shall we write a play about? "Now I have gone back to being rather the orthodox writer, though I certainly carry over some of the marvellous discoveries made by working with actors in an improvisational context "I have the need for a greater sense of privacy in working and a more personal statement With plays like Sizwe Banzi and The Island, it was a combined statement from John and Winston and myself. "For my last play A Lesson From Aloes, which opened seven or eight weeks ago in Johannesburg I had defined the essence of the story-line on paper before going into rehearsal.

I had down all the dialogue, all the transitions. I knew at that point what I was hoping the actors in the rehearsals would contribute. They enriched it considerably. "This play is also in a sense more overt than any of the other plays. I don't feel any 'safer at this point than when I first started writing; it's just that the territory of this play required a more overt statement" The fact that Fugard, his wife Sheilah and their teenage daughter Lisa continue to live in South Africa does not mean they are optimistic about the future there: "The equation in terms of South African history is so unbelievably complex now that I find my horizon is tomorrow.

Whatever happens in my country is going to be attended by violence. WJiite South Africa, has been so unbelievably wasteful of the generosity of black South Africa." Should the time come when he has to leave, would he feel confident that he could get the same success from his writing, removed from his surroundings and tackling unrelated subjects? "No, Without any attempt at false modesty or I regard myself as a regional writer, and my region the east cape of South Africa." by JILL SYKES THE South African playwright Athol Fugard is well known to most Australians who go to the theatre and' probably to a good many who don't. His plays arc valued not only for their dramatic achievement, but for their revelations of the horrors of daily life for black and coloured South Africans: Sizwe Banzi Is Dead, The Island, Hello and Goodbye, Boesman and Lena all have been seen in Sydney. Now comes Statements After an Arrest Under the Immorality Act, which opened this week at the Seymour Centre. "Statements is in a sense the climax for me of a period of work which started with Sizwe Banzi and The Island, a sort of flower," Fugard said by telephone during a call that linked a steamy Sydney morning to an icy English night.

"As was the case with those two plays, I worked directly with the actors, the play evolving from our discussions and the sharing of ideas. It was one of the most richly rewarding experiences I have had." Statements was first performed in 1974 in London, where Fugard is working at the moment in a dual role for the BBC: the drama department is recording Hello and Goodbye, while a documentary unit is making a program on Fugard himself. Fugard is articulate and eloquent; his carefully chosen words and clipped, nasal accent bring him close to the listener. His writing is associated with the politics of South Africa, but his plays have always been about people, the comments coming through their involvements. The devastating effect of these dramatised comments has not gone unnoticed by the South African Government, which con fiscated Fugard's passport for four years, from 1967, after he wrote The Blood Knot.

Since then, Fugard's work has become internationally known. "The fact that my plays receive serious consideration outside South Africa affords me one level of protection inside the country," he said. "If for any reason I fell of the authorities, I think there would be some kind of protest from outside. "Also, South Africans are sometimes a bit slow to recognise something that is home-grown. Acceptance of your work overseas gives you an aura of respectability at home." (Shades of Australia, I replied, setting off an exchange on the inferiority complexes of Britain's far-flung former colonies.) The intensity of Fugard's hatred for his country's apartheid policy, with all its legal reinforcements, developed as an adult.

Brought up by an Afrikaner mother and an Irish-English father in the industrial town of Port Elizabeth, where he still lives, he was no different from any of his white school friends. In a BBC interview he recalled that "I had every South African prejudice relating to the racial issue. I can remember, when I was a boy of 12 years old, bullying a very big African adult man." With awareness of the system came the need to know more. He worked for a while in Johannesburg courts which deal with passbook offenders black Africans caught without their required passbooks in order, or in areas where they should not be. One offender was dealt with by the magistrate every 30 to 45 seconds and the background was set down for Sizwe' Banzi is Dead, in which the character of the title role leaves his home town to look for work and, unable to read his own passbook, "vile" SCHOOL OF MECHANICAL INDUSTRIAL ENGINEERING MASTER OF ENGINEERING SCIENCE In the Professional Area of INDUSTRIAL MANAGEMENT The Department of Industrial Engineering willoHarln 1 979 a programme in the area of Industrial Management to compliment the programmes in Operations Research and Production Engineering.

This should appeal to a wide spectrum of engineers and other graduates working in this area. Applicants for entry to the course should hold an honours degree or a good pass degree. Preference will be given to those already working In Industrial Management or a related area. The course will normally be taken on a part-time basis, to be completed in a minimum of 2 years. Subjects to be offered in the area include Industrial Management, Design of WorkSystems, Value Analysis, Economic Decisions, Production and Inventory Control, Operations Research, Ergonomics, Inspection and Quality Control, Factory Design and Layout, Information Processing Systems, Marketing Management.

There will also be scope for choice of postgraduate subjects from the very wide range offered by the Faculty of Engineering and by other Faculties. A project, preferably based on the work activities of the student, will comprise 25 of the course. Further enquiries regarding this course or those in Operations Research and Production Engineering can be made Oxley (02-662 2868), Department ol Industrial Engineering, The University ot NewSouth Wales, P.O. Box 1, Kensington, NSW 2033. THE NATIONAL INSTITUTE OF DRAMATIC ART at the University of New South Wales Applications are invited for TUTOR IN ACTING DUTIES: To conduct classes in improvisation, and acting method, to direct informal play productions; to conduct feminsrs and individual tutorials; to generally assist the Head ot the Acting Course in all aspects of day to day organisation.

QUALIFICATIONS: Experience as an actor or director in the professional theatre is essential. In addition, applicants should have some teaching experience. Formal theatre training is a desirable, but not essential, qualification. CONDITIONS: The appointment is full-time and will be for an initial period of one term, beginning in February or May, 1979. If successful, the contract will be extended, SALARY: Within the range of $10,400 to $13,000 p.a.

Applications giving full details, including a curriculum vitae and the names and addresses of two referees shopld be forwarded to: The Director, I P.O. Box 1. KENSINGTON, N.S.W., 2033. CLOSING DATE: January 26. 1979.

suddenly finds he has been out of bounds for two days. In danger of severe punishment, he has to find a way to outwit the system. Much of Fugard's work is based on his experience, and Statements is no exception, albeit once removed: "Statements evolved from something I read in a newspaper about a couple charged under the Immorality Act, which forbids any relationship between whites and blacks-or coloureds. "The newspaper reported an incident in a little town about 200 miles from Port Elizabeth which involved the police breaking in on a white man and a coloured woman at night, taking photo MACQUARIE UNIVERSITY CONTINUING EDUCATION PROGRAM BELOW: Olive Bodill and Anthony Whteler in I scene from Statements THE NATIONAL INSTITUTE OF DRAMATIC ART TASMANIAIM COLLEGE OF ADVANCED EDUCATION MX NELSON HOBART TASMANIAIM SCHOOL OF ART Enrolments for 1979 The Tasmaniari School of Art will hold an admissions session for lata applications for the 1979 programs. COURSES Bachelor of Arts (Visual Arts) 4 years Diploma of Arts (Visual Arts) 3 years Diploma of Art(Visual Arts Teaching) 3 years Associate Diploma in Art and Craft 2 years STUDIO AREAS Painting Sculpture Printmaking Applied 3-dimensional design Graphic Design 1979 LANGUAGE COURSES Commencing 26th February.

Day and evening courses. 2 hours par week. Fees from S3S to $51 per 15-week course. Offered it various levsls in: ARABIC GREEK JAPANESE FRENCH INDONESIAN RUSSIAN GERMAN ITALIAN SPANISH PROFESSIONAL ENGLISH (specialised English for migrant professionals) READING GERMAN (for research, etc.) OFF-CAMPUS Courses in community languages offered at off-campus locations: ARABIC Lakemba and Rockdali GREEK Marrickvilla and Rozelle ITALIAN Stanmore and Rozelle SPANISH. Stanmore TURKISH Redfern and Auburn VIETNAMESE Bankstown CONFERENCE INTERPRETING Courses to train fully bi-lingual persons In consacutivt and simultaneous interpreting techniques.

Fee $90 for 20-week course, commencing 5th February. Inquiries phone 3808. INQUIRIES: Phont 888 8000, extension 9767, or mail the following: CEP, School of Modern Languages, Macquarie University, NORTH RYDE, 2113 Please send ma details of 1979 language Name Address Postcode Telephone Ceramics (Inc. Glass Blowing) Photography Film Making Kinetics TheoryHistory visual Investigation at the UNIVERSITY OF NEW SOUTH WALES Sydney, Australia Applications are invited for the position of: HIAD OF THE TECHNICAL PRODUCTION COURSE DUTIES: To take charge of the three-year full-time Technical Production Course; to teach as required; and to supervise ell productions presented by the school. OUALIFICATIONS: A wide knowledge of and.

experience in technical theatre. Teaching experience would be valuable, but not essential. SALARY: The salary would be in the range of' per annum according to qualification and experience. A superannuation scheme is' available. Applications close 26th January, 1979.

Enquiries: The Director The National Institute; of Dramatic Art P.O. Box 1 Drawing In some areas part-time enrolment will be accepted and after hours classes will be availaoie. Further information and application forma are available by telephoning Mrs Appleton (20 3274) or by writing to: The Administrative Officer, Tasmanian School of Art, Tasmanian College of Advanced Education, G.P.O. Box I41BP. HOBART.

7001. Interstate applicants should forward 8 folder of their work (andor slides) together with thair applications. CLOSING DATE FOR APPLICATIONS: Wednesday, 7th February, 1979 SEMESTER COMMENCES: Monday, 26th February, 1979 KENSINGTON, N.S.W., 2033.