O Paltry New WorldnTempest; Written by Paul Mazurskynand Leon Capetanos; Directed by PaulnMazursky; Columbia Pictures.nDesigner Victor Papanek, in hisnDesign for the Real World, makes annobservation that should be kept in mindnby not only those who design products,nbut also by all involved in the creation ofnartifacts:nThe steel beam in a house, painted anfake wood grain; the molded plasticnbottle designed to look like expensivenblown glass; the 1967 New Englandncobbler’s bench reproduction (‘wormnholes $1 extra’) dragged into a twentiethncentury living room to providendubious footing for martini glass andnash tray: these are all perversions ofnmaterials, tools, and processes.nPaul Mazursky’s T^iW/’^j^isa 1611-1612nplay forced into the structure of an examinationnof a midlife crisis circa 1982.n”Show me the magic,” the Prospero innthis paean to social and sexual irresponsibilitynsays while snapping his fingersnmore like a beatnik gone to seed than anmagician, yet there is no wizardry in thisnfilm, outside of that provided by part ofnthe setting: a sun-bleached isle surroundednby a wine-bright sea.nIt’s often said that The Tempest isnShakespeare’s final commentary on thennature of his art. Just as the playwrightncould perform feats that ordinary menncould only dream about, Prospero couldncontrol what occurred on and about hisnenchanted isle—with the exception ofnthe dictates of nature, as shown in thendevelopment of Miranda, who eventuallynrequired a Ferdinand. Once peoplenentered Blackfriars or the Globe, theynwere no longer in the mundane worldnthat lay beyond the walls, but in onenwhere time and space meant nothing, asnthey could be collapsed or expandednwith the scratch of a quill pen. WhilenThe Tempest is certainly one of the mostnmagical plays in Shakespeare’s canon.n42inChronicles of Culturenit’s interesting to note that in it he obeysnthe unities of time and place, which isnrare for him. It’s almost as if he recognizednthat by limiting himself in onenrespect he was more able to take libertiesnin others: critical observers would thennconcentrate on the art, not simply decrynthe continued flouting of convention.nAnd so he worked his art, pushed hisnpoetry. If it is a swan song, it isn’t annagonizing bleat but a soaring lyric.nShakespeare was 48 years old in 1612,nwell beyond middle age by the standardsnof the time. There was no diminution innhis powers.nBut what of Mazursky? He has creatednBob & Carol & Ted & Alice (’69) . . .nBlume in Love (’73). . . An UnmarriednIVoman {’78)… and others in between.nA thread that binds is that they are allnMUSICnRecords: The English Neo-Renaissancenby Robert R. ReillynCulture can be explained in rationalnterms, but what animates a country’snspecific cultural life is a mystery. For instance,nwhy has Germany produced sonmany great symphonists and Spain sonfew, or Hungary so many great musicians?nMore to the point with regard tonthese records, why did English music sufferna hiatus of genius for two centuries,nfrom Purcell’s death in 1695 until Elgar’snemergence at the turn of this century,nand then undergo a glorious—and continuing—renaissance?nSince this renaissancendrew much of its inspiration fromnthe I6thand 17th centuries, it was largelynimmunized from the dodecaphonicnplague that swept the continent. Most ofnMr. Reilly is with the U.S. InformationnAgency in Washington, D. C.nnn”with-it” films. Mazursky probably usednthe word “groovy” as an operative termnin his vocabulary while making them.nStory ideas seem to have been cullednfrom a Fifth Avenue psychologist’s notenpad. Tempest is roped in with the rest.nMazursky appears to be pushing hisnbanality to the limit here, telling nothingnabout people that can’t be discovered bynobserving the advertisements in NewnYork magazine: what the characters say,nhow they dress, what their so-callednproblems are—all of this and morenare predictable. To give the movie ansemblance of artistic responsibilitynMazursky seizes Shakespeare’s frame.nThe result is not unlike that which can benobtained by a mass manufacturer takingna pair of handmade leather shoes andnproducing a simulation in Corfam. (SM)nthe music is tonal, lyrical, even pastoral.nThis earned modern English composersnthe reputation among avant-garde criticsnof being 30 years behind the times. But,nas C.S. Lewis once said, “If the clock isntelling the wrong time, why not turn itnback?”nThe first wave of this renaissance wasnled by Gustav Hoist (1914-1976), RalphnVaughn Williams and Frederick Delius.nThe Musical Heritage Society has madenavailable at modest cost a digital recordingn(MHS 4514) of Hoist’s most famousnwork, The Planets, Op. 32, played bynthe Scottish National Orchestra and conductednby Sir Alexander Gibson. Thenmusical Star Wars of its time. ThenPlanets continues to be so popular that itnhas eclipsed the rest of Hoist’s substantialnoeuvre. Although justifiably irked at thenneglect of his other works, Hoist shouldnnot have been surprised. They do not.n