Word: setting
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1970
Sort By: most recent first
(reverse)
...ACTORS have come hither, dear reader, and-as Polonius would have it-they're set on being the best actors in the world. Either for tragedy, comedy, historical, pastoral, pastoral-comical, historical-pastoral, tragical-comical-historical-pastoral. And all within the scope of one play, mind you. The play in question being Peter Raby's adaptation of Alexandre Dumas' The Three Musketeers. And given that Raby renders the venerable old Dumas novel in a succession of Forty, Count em, Forty, Swiftly Moving and Breathtakingly Dramatic Scenes-See D'Artagnan outwit the Cardinal's guards! See Milady de Winter steal...
...with as much enthusiasm as Tom Sawyer's gang out on a midnight patrol-Tom, you'll remember, was himself something of a Dumas freak-and though it's all still as ridiculous and decadent as even Mark Twain could see, it's also still somehow innocent enough to set off a goodly amount of villain-hissing and hero-hurrahs in the correspondingly enthusiastic audience...
Simplicity often seems to have the scope of an epigram, and the plays at Lowell House seem to universalize Blitzstein's lyrics even more by their free sweep through time and space. Wakeen Ray-Riv is director and choreographer of "The Harpies," set in ancient Thrace. A farce based on Apollonius, it is Blitzstein's first opera to his own text, performed only once before, in 1953 at the Manhattan School of Music. The new staging here and emphasis on dance is a vital response to Blitzstein's dedication to popular art and depends on the spirit of community...
Also, in October the government changed the system of storm warnings broadcast over the radio. Thinking that the peasants did not understand the numerical ratings of 1 to 12 set up, the government substituted verbal descriptions. The island inhabitants were confused and fewer sought refuge than would have otherwise...
...figure in the left of the frame is opposed to the figure in the right, and the actors in the foreground fight the crowds toward the back. In this closed form of thesis/antithesis, Rocha's open form occurs when he transforms one opposition into another. Rocha's shots are set, closed, until he brings in a new term of antithesis: he pans roughly till the camera picks up a new character on one side, causes a new figure to enter the shot, or cuts away to transform the dialectic of the shot...