Word: staging
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Dates: during 1970-1970
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Detroit's automakers are only too well aware of the sales potential. Before a race, local dealers stage long parades of their latest models. Hospitality tents are set up. And salesmen dressed in the colors of the racing cars are everywhere passing out brochures. Nothing, though, sells like a winner. As one San Francisco Ford dealer puts it: "What a wedge to close a deal! When a salesman gets a performance-oriented buyer-and you'd be surprised how many there are-whammo...
...races in the 1970 Trans-Am circuit, six different makes of cars were among the top seven finishers. Mustang roared off to an early lead by copping the first four races, then lost out to Donohue's red, white and blue Javelin. That set the stage for race No. 6 last week at the aptly named Donnybrooke Speedway in Brainerd, Minn. In the hardest fought contest so far this season, Follmer's Mustang and Milt Minter's Camaro waged a torrid battle for the lead. Growling into the final turn, Follmer tried to charge past Minter...
...audience at London's Cambridge Theater looks up expecting to see the familiar opening scene of Ibsen's Hedda Gabler -Hedda's new husband nattering away with his auntie. Instead, in a startling departure from the script, Maggie Smith as Hedda strides silently onto the empty stage. Clad severely in white, she is pale and tense, her features a mask of mortal exhaustion and despair that might have been painted by Edvard Munch. She smokes, paces, contemplates herself in a mirror, stares moodily, doubles over in a spasm of nausea. All of the contradictory qualities that...
...renowned master of the cinematic art, Ingmar Bergman. And no wonder. The Hedda unveiled by the National Theater troupe last week is a special restaging by Bergman of his 1968 Stockholm production. In it, the play moves out of the sitting room and into the psyche. Bergman's stage is relatively bare and expressionistic, luridly lit when it is not dark. On the peripheries of many of his scenes, characters who are supposed to be offstage linger to eavesdrop on the proceedings that concern them. Somewhat eerily, this shifts the emphasis from actual events to the manner in which...
...masters another, only to be mastered by a third. In keeping with the cinematically fluid rhythms of the production, Miss Smith cuts and dissolves from mood to mood like some dazzling montage sequence in a Bergman film. The wonder of it is that this is not a film, but stage art transmuted to a new dimension...