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Show Atpi plfOg Lpli (2i R iC B 0C11 same situations, considering different factors and drawing possible conclusions. It becomes a question not only of science, but of human nature. The play looks at what would have happened if Heisenberg had gone back to Germany and invented the atom bomb, but it also wonders why he didn't. It wonders about the ethics of developing the bomb. What were the implications of each man's acts during and after the war? Appropriately enough, the set could be the chamber of a nuclear reactor or an interrogation room a bare stage with bold, stark lighting. It could also be an atom. The three characters circulate around each other like particles around a nucleus, and each person's weight is felt. Even when they leave the scene, the characters never exit the stage. The only props are three chairs. The lighting and sound effects provide changes in location and mood. Margrethe Bohr (Joyce Cohen) serves as commentator, often reigning in the two impetuous scientists. Bohr (Ross Bickell) takes the roll of the teacher, often taking the moral high ground. Heisenberg (J. Paul Boehmer) ev Fobs Pabky fopioneer Theatre Company llows up its wildly successful, !y- wouldn't have done-neaany where else-irun of "Peter Pan" with an entirely different sort of work. "Copenhagen" tells the story of the final meeting between legendary physicists Niels Bohr and Werner Heisenberg in 1941. World War II had already started, the Nazis occupied much of Europe, including Copenhagen, Denmark where Bohr (who was half lewish) lived. Heisenberg the lead nuclear physicist working for Germany during the war traveled from Berlin to reunite with his old mentor. The men were real, the meeting actually occurred. But the question that has never been answered is "What did Heisenberg say to Bohr?" And how did this affect Heisenberg's actions later in the r n as-we- the-count- war? Everyone is dead when the play begins Bohr, Heisenberg and Bohr's skeptical wife Margrethe gaze backward through time to examine the dynamics of that meeting. They view it as a sort of scientific problem, going over and over the by Autumn Thatcher away toward the chucked II back of the Utah Museum of Fine Arts is a photography exhibit that truly engages the viewer. Joseph Marotta, a member of the University of Utah art department, is the talent behind this particular exhibit, titled "Atget's Paris m Revisited." Eugene Atget was a photographer during the late 19th and early 20th centuries who traveled the various streets of Paris and photographed what he saw. What makes Atget's photographs unique is the fact that he mostly photographed Paris during the early morning hours when the streets were empty. This allows for the photographs to project an image of quietness and serenity within a city that is thought of as loud and chaot- y u u v- !-- stays on the defensive, as he and the others try to understand his own motivations. Boehmer's character becomes the focus of the work, and he handles it nicely, giving Heisenberg an anxious, cocky nature, and a hopeless tendency to fidget. "Copenhagen" captures the emotional and historical fallout of war and nuclear weapons. The cast gives a seamless performance, making no judgement on anyone. Making it through the play takes concentration, however, especially if you have no background in physics. Bohr and Heisenberg frequently go off on scientific tangents and each detail ties back into something else. It all works to form a complicated metaphor, comparing Heisenberg's enigmatic motivations to the behavior of an atom. But the construction of the metaphor taker a while, and you have to sift through a lot of history and science to get to it. But the final realization of the play is worth the work. "Copenhagen" runs through February first at Pioneer Memorial Theatre. Calls8i-6g6- i if is seek. what information you Marotta's exhibit is wonderful because for every one of his photographs on display, he hangs a picture taken by Atget nearly 100 years ago right next to it. In most cases, the photographs are of the same images, allowing the viewer to note the change that Paris has undergone during the last century. This is definitely the most appealing aspect of the exhibit. The photographs taken by Marotta were done with a digital camera and most of them are untitled. They differ from Atget's in that they are colored, but many of the images are the same and taken from the same angle. in order to create this exhibit, Marotta sftnt eight weeks in dswn the varl- p:ris, t?s t h : A pho 0 :5 J" -- 1v - " X f )( 1 This set from Pioneer Theatre Company's production of "Copenhagen" could be an atom. Ross Bickell plays scientist Niels Bohr, who visits his student (Werner Heisenberg) J. Paul Boehmer before World War II. "2 .1 ill I black-and-whit- old-worl- e, -A. 1 : ' ' Magazine v r UJ i. I '1 ,1 5 a fv. . i .j d j 1 . cut. ; f ; ' 5," - !u"" I A) Wfry. JWteUrf 1 v,u. s. ic. 3 January 16, 2003 I ItJJD r . . bobbired-mag.co- tographed. The effect is startling because it forces the viewer to accept the ugliness of time and change. The colored images displayed by Marotta reflect the evolution of society and often reveal the disrespect that many individuals have for art and architecture. In comparing Eugene Atget's "Rue Vi elk du Temple" taken in 1898 with Marotta's 2000 image, one notices that the temple, once adorned with beautiful and idealistic sculptures, is now covered with bold letters of graffiti. Many of the photographs reveal that although the buildings were once representatives of ingenious art, they are now merely surfaces on which the restless individual spray-paintThe tacky graffiti, accompanied by many cars and people, fills the modern images. This disrupts the quietness of Atget's photographs. The antiquity of quiet Paris streets, made out of brick and free from the chaos of people, litter and cars, is now forgotten as time has evolved. It is the color of Marotta's photographs in comparison with the Paris that brings a sense of sadness to the viewer. The beauty of stillness is hard to understand in the modern world, but it can be appreciated through the aid of Marotta's comparison, which reminds the viewer that change may be good, but the evolution of soci-et- y makes aesthetic U . y h.nd to come by. T)e exhibit will Itcn S at the Utah Museun (fi i.:tris until March 1$, zoo j, .... ftiO. :. . ' ft-- ; :td::rhj t? ?tvncfV.;c tvry ivtkh ' |
