Word: proscenium
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Dates: during 1970-1979
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...numbers are exceptionally well done. Rather than restage them for television-a deflating technique endemic to PBS's Theater in America series-Kaye shoots them on a proscenium stage, usually with the help of the original set designs, orchestrations and choreography...
Television drama-leaving aside the question of TV news, whose effects are a different phenomenon altogether-becomes more complicated when it is considered as a medium of persuasion, the little electronic proscenium alive with potentially sinister ideological glints. In years past, American TV has been considered a moderately conservative influence. From the suburban complacencies of Ozzie and Harriet through the vanquishing six-gun authority of Sheriff Matt Dillon, TV entertainment seemed an elaborate gloss on the status...
...course of two hours. They seemed to have all they needed to conjure up a '40s nightclub--dim lights, thick smoke, and swinging music. But they missed the intimacy of a nightclub-sized area; the Loeb stage is pretty forbidding, especially when it's set up as a proscenium instead of the modified theater-in-the-round Loeb directors often choose. Michael Der Manuelian, Ellington's director, didn't even try to protect his performers against the mainstage's tendency to dwarf actors. They sometimes looked a little lost; Ellington at Eight could have far better succeeded...
...next appeared in a very different work, Jerome Robbins' Afternoon of a Faun, which has almost no steps at all. It is a brief, seductive work about two dancers practicing in front of a "mirror" (actually the proscenium) and gradually making enigmatic erotic contact with each other. Baryshnikov's first original Balanchine works are Stars and Stripes and Rubies, both of which happen to call for speed, wit and fiendish virtuosity...
...with extreme suspense: one peers through the glass at a scene that resembles the inverted world of the fun fair, but concentrated (and made epigrammatic) by its littleness. The box serves him as it served Joseph Cornell: as a diminutive theater in which anything can happen, whose proscenium marks its contents off from the real world. But Westermann's imagination is quite unlike Cornell's nostalgic, refined mode of dreaming. It is colloquial, even brash, charged with sexual tension and loaded with implications of frustration and death...