Word: compresses
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Dates: during 1950-1959
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...George McNeil sounds a note of caution: "Perhaps we need a reactive motive, some restraining influence to compress creative energy antecedent to its spontaneous and meaningful discharge...
What trapped the men was a "bump," a hazard peculiar to Nova Scotia soft coal mines, in which excavated seams compress with near-explosive force, sending up clouds of gas. Coming at 8:05 p.m., the rumbling shock tumbled dishes all over town. At the colliery, the miners' wives looked at the tagboard and waited. Only a few sobbed. Within an hour volunteer rescuers arrived, each toting 45 Ibs. of special oxygen equipment, and started down the 13,800-ft. shaft. Eighty-one survivors were brought up, their faces blank with shock. But the faces of the others were...
Other U.S. critics may have made as high demands on the theater, but none has ever matched the bright, Nathanic blend of impudence and intellect, rapture and irreverence. "Art," he held, "is a beautiful, swollen lie; criticism, a cold compress." While he derided "soapbox philosophers" and "commercial uplifters," Critic Nathan preached, cajoled and bullied to carve out a niche for Eugene O'Neill, the first U.S. dramatist to achieve worldwide renown. He worked as hard to popularize such famed European playwrights as Sean O'Casey, Ferenc Molnar, and Luigi Pirandello. Says the New York Times's Drama...
...each horizontal cylinder or "gasifier" (there may be any number of them feeding the same turbine) are two pistons that slide back and forth. When they move together in the center, they compress a charge of air and heat it so hot that fuel sprayed into it burns immediately, as it does in a conventional diesel engine. The explosion heats the air still hotter, raises the pressure and forces the pistons apart. As they move away from each other, they do three things: 1) the large disks on their outer end draw fresh air from the atmosphere into chambers behind...
...just one intermission. Even the set, which was designed by John Ratte, suggests the Globe Playhouse, since it consists of little more than two platforms connected by stairways. This setting, which is of course less complex than its Elizabethan model, presents its own problem to the director, who must compress the play's flow into two acting areas in place of the original six. Aaron's solution is remarkable for its ingenuity. He has contrived to inject a great, though not excessive, amount of movement into each scene, and the transitions from one to the next are, on the whole...