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...Aureole, the dancers are all in white, stark against a backdrop lighting of limpid Mediterranean blue. Taylor, a blond, blue-eyed matinee idol, looks as if he could double as a circus strongman, and the trio of girls accompanying him are Nereids in semidiaphanous slips. The dancers move like sails on a summer sea, now lazing, now racing, sometimes capsizing, then righting themselves as they catch each new breeze of improvisation. There is no story line whatever, but the mood is as artless as love...

Author: /time Magazine | Title: Dance: Frolic in Motion | 8/16/1963 | See Source »

...while to think of some symbol that would be both restrained and striking, the group pounced eagerly upon an idea suggested by the hostess' son, S. Stinor Gimbel, 30, vice president in the family hops business. His idea: use the simple, familiar mathematical sign of equality. The result, stark white on black...

Author: /time Magazine | Title: Nation: Who's Got the Button? Almost Everybody | 8/9/1963 | See Source »

Last weekend's presentation of this play at the Experimental Theatre, therefore, was in stark contrast to a more amiable view of the battle of the sexes being portrayed on the Main Stage. Shaw could smile resignedly at the tenacity with which woman fulfilled her duty to the Life Force and captured a husband. Strindberg brooded over the plague of women besetting man, and saw tragic disaster in the marriage woman sought. In both plays though, there is a great deal of talk...

Author: By Joseph M. Russin, | Title: Strindberg's 'Link': A Bitter Bond | 8/6/1963 | See Source »

Andrzej Wajda's Polish section is a bit wooden and contrived, and the stark background of Warsaw is no setting for a young romance. The Italian sequence, by Renzo Rossellini, is predictably decadent, involving the passion of a kept man for a new, younger mistress...

Author: By Joseph M. Russin, | Title: 'Love at Twenty': Five Viewpoints | 7/19/1963 | See Source »

...direction of Massachusetts Avenue, squashing Holyoke House and Dudley Hall as it goes. Down beyond Dunster House will soon rise the married students housing complex, twice as high as too-tall Leverett Towers. These are the halls that the Dean of the School of Design built: ugly, menacing, stark...

Author: By Russell B. Roberts, | Title: Incinerator Gothic | 5/20/1963 | See Source »

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