March 14, 1977 12:00 PM

Greg Bright, 25, is an authority on the design and construction of mazes. Though most people tend to think of mazes as a children’s game—start at point A and trace a path around dead-end passages to point B—Bright has turned them into an adult art form. He lives in London, has published two volumes of mazes and exhibited at London’s Institute of Contemporary Arts. This Easter, Bright’s first “living” maze, an intricate network of 3,600 yew bushes, will be opened to paying guests at Longleat, one of Britain’s most famous stately homes. Bright built his first major maze in a field near Glastonbury, England when he was 19. A farmer let Bright dig in his fields, and the youngster lived there in a tent for a year, digging a mile of labyrinthine trenches. “It was a great way to get hooked,” says bachelor Bright. His ambition is to build the ultimate maze. “When a person enters,” he says, “the door behind him locks. The walls are 12 feet high and the lanes are mostly arcs and spirals, which are the most disorienting. No food, no drink. It will be a matter of solving it or not surviving.”

Janina Fialkowska, after 18 years of intensive study and preparation, found the world of the concert pianist just too competitive. In March of 1974 she decided to give up her dream of a career as a performer and enter the University of Montreal law school instead. Then she was invited to represent her native Canada at the first international Arthur Rubinstein piano competition in Israel the following September. “I had an incredibly negative feeling,” she recalls, “but finally I said ‘yes.’ ” It was the right decision. Though she came in third, she made a lasting impression on at least one judge. “There was a party for the competitors that night,” Janina says. “Rubinstein walked straight up to me and said, ‘I love your playing.’ You can’t have much better support, and that’s what I needed.” Besides encouragement, Rubinstein also helped Janina, now 25, get concert dates. She has at least 50 scheduled this year. Following her Chicago debut last December, the Tribune music critic wrote, “When it comes to playing Liszt and Ravel, Janina Fialkowska could give lessons to many musicians twice her age.” Her legal career seems shelved permanently. “I think a lot of performing artists don’t particularly like their public,” notes Janina. “They come out on stage and sneer and play for themselves; but I adore the public. I just try to convince them of what I feel.”

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