Word: tempest
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Dates: during 1960-1969
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...religions of the Far East for his spiritual overtones, using an assortment of percussion instruments, horns, bells and even incantations. In The Creator Has a Master Plan, sensuous, mesmerizing sounds roll over repeated phrases, curling peaceably upward like incense. In Colors, Pharoah's tenor saxophone begins a tempest of cries and emphatic screeches that hint at lurking discord in the universe. The harmonious moments of his music, though, far outnumber the discomforting ones, and suggest a passionate belief in man's perfectibility...
Kokoschka's best work from that period is Tempest, an oil that depicts the lovers swept up in a swirling sea of waves. "It is my most beautiful portrait," Alma wrote, noting that it showed her "trustfully clinging to him, expecting all help from him who, despotic of face, radiating energy, calms the mountainous waves." The theme of Tempest is repeated in miniature form-as the entwined lovers on the Bay of Naples-on one of the seven swanskin fans. On another, Kokoschka inscribed the Alma of the Alpine mural, adding himself as St. George fighting the dragon. Today...
...author's vigorous humanism, it transcends particulars and turns events into allegory. In The Third Bank of the River and Other Stories,* many of the particulars dissolve, leaving the author's metaphysical core standing alone. It is as Guimarāes Rosa intended. The book is his Tempest, the parting reverie, the mystical indulgence after the hurlyburly, the lightening of the load for a final assault on the summit...
...STRANGE BEDFELLOWS: Coined in its present context by Connecticut Newspaper Editor Charles Dudley Warner in 1850, when he wrote: "True it is that politics makes strange bedfellows." He stole it from Shakespeare's The Tempest (Act II, Scene 2), in which Trinculo, forced by a storm to seek refuge under a sheet with the abhorrent Caliban, says: "There is no other shelter hereabout: misery acquaints a man with strange bedfellows...
...magic. And, when all ended, it was I suspect the magic that those people remembered, not exactly the play they had seen performed. Verse plays aren't noted for evoking mass gut reactions. The ambitious and verbally complex Mayer-Babe adaptation gets a little lost in the tempest nightly at Agassiz, and that's not to say that the play is weaker than its dazzling production. A Tim Mayer and (to a lesser extent) a Thom Babe show is like a great big present; there's so much of this one you'll just have to see it twice...