Word: mirrors
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...what it wants." Painting had won him the Oedipal battle before his career had begun. If one were told that Science and Charity, Picasso's sickbed scene from 1897, with its rather conventional drawing but adroit paint handling (especially in the details, like the frame of the mirror above the bed), had been done by a 30-year-old Spanish academician, one would have predicted a competent future for the man. Once one realizes that it was painted by a boy not yet 16, the skill seems portentous, like a visitation?and that is the general impression conveyed by Picasso...
...placid, ill-educated and wholly compliant blond, who had never heard of him or his work, and offered nothing that even Picasso's egotism could interpret as competition. She became an oasis of sexual comfort. His images of Marie-Thérèse reading, sleeping, contemplating her face in a mirror or posing (in the Vollard suite of etchings) for the Mediterranean artist-god, Picasso himself, have an extraordinarily inward quality, vegetative and abandoned. In one sense, the body of Marie-Thérèse, curled up in Nude Asleep in a Landscape, 1934, is seen as a graffitist might see it?...
...show-stopper of A Day in Hollywood is a dance number called "Famous Feet." Tommy Tune, who brings an irrepressible humor to his choreography as well as dauntless invention, has devised a narrow, mirror-backed bridge span of a stage high above the stage proper. Only the legs and feet of the dancers (Niki Harris and Albert Stephenson) are visible. By their styles and their shoes, ye shall know them. Some feet! Fred and Ginger, naturally, as well as Garland, Chaplin, Dietrich and, believe it, Mickey and Minnie...
...kind of visual trumpet blast. Essentially the same compositional strategy, and the same dramatic clarity, are on view in a black-and-white photograph of an industrial wasteland by Roswell Angier: in the foreground, framed by a windshield and side-window, we see the blurred silhouette of a rearview mirror, a woman's blanketed back, a squinting Indian girl and a stop sign ornamented with a tinsel Christmas tree. In the background: a chainlike fence, grain silos, and cylinders of gasoline mounted on flatcars--all of this presented with illimitable, understated bitterness and a quality of throwaway grace...
...diction, and their interplay is the highlight of this production. Their comprehension of the interchangeable nature of their roles seeps through each line: Vladimir speaks in verse, though Estragon is the poet. McCue and Redford mimic so subtlely that only during the second act do we notice that they mirror each other's ideas and movements. Like silent film stars, they remove their bowlers in unison to scratch their heads...