Word: programing
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Dates: during 1960-1969
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...later taught aviation and coached football at the academy, resigned his commission in 1926 to become assistant general manager of Transcontinental Air Transport (now TWA). From 1933 to 1937 he was Director of Air Commerce in Washington, where he organized and expanded the Government's civil aeronautics program. Later he served as a director of Northeast Airlines and as aviation adviser to the Army Chief of Staff...
...BORROW from Clive Barnes: AIR is beautiful. In her program notes, Lindsay Ann Course writes, "Mixed media has yet to be legitimized. Once that is accomplished. I believe we will discover that this polygamy of motion, sound, and light is the basic art of the theatre." After seeing AIR, I believe her; for the parts of her program fit together so well that you are not aware of the mixing. The dance, the music, and the lighting are not three art forms but one-which men, out of their fondness for such things, have tried to tear apart, isolate...
...structured in four movements, each movement built around one of the classical elements--water, earth, fire, and air. But the elemental imagery is not strict. Like everything else in the program, the images flow into one another, joining and drawing strength from each other...
...joys of AIR is that it exists in the senses and the emotions. It does not have a message or need a message, because it is its own message. Peter Ivers' music fits the program brilliantly, and the lighting--by Alessandro Vitellie, Ken Chang, and Richard Strother--is nothing less than fantastic. There are times--as in the second movement when a violent, fiery red light floods the stage, then yields suddenly to a gaunt, blue, empty light--when the light seems like an ether in which the dancers exists, so closely a part of their dance, that they...
...PROGRAM is short, ending around ten, and the fourth movement--air--is less than ten minutes long. But it is the show's highlight. A cross-stage projection of red and blue light allows the two dancers--Miss Crouse and Miss Hurst--to use the depth of the stage in an extraordinary way. They move their faces and bodies in and out of the light, being and not being. This movement's score consists of music from the other three movements, recorded in an echo chamber, wailing back and forth across the stage like the turning of the spheres...