Word: text
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...Though some of the actors are sharper than others, the fluidity of the ensemble cast together enlivens the bare text of the play. Gorky allows the director a lot of leeway with respect to who talks to whom when six or seven characters are on stage. This production takes full advantage by creating eddies of conversation that alternately split and combine based on the context, adding texture to what would otherwise be a dry series of declamations...
...Fiona Banner, Sylvie Fleury and Richard Prince treat the hot rod following the well-established Pop Art tradition of reusing familiar icons and images. Banner uses written text in the form of "wordscapes" in "Car Chases" (1998.) She describes the chase scenes in French Connection and Bullitt and, as her paragraph progresses, she gradually decreases the spacing between the red words for an effect of velocity and acceleration. The blurred-up effect towards the bottom of each piece gives you a feel of the rush of a hot rod screaming by and definitely disrupts the usual static nature of written...
...production of Timon of Athens at the Agassiz Theater probably caused some lifted eyebrows. This least known of all Shakesperean plays is an unfinished text that is speculated to have been born out of a collaboration between Shakespeare and renaissance playwright Thomas Middleton. Of all Shakesperean plays, Timon of Athens needs a strong directorial hand to adapt it for the stage. Chronologically, the play occupies the uncomfortable spot between King Lear and Macbeth and can be easily dismissed as the awkward transition in-between...
Journalists don't clap. For 15 years, as a writer and reporter listening to politicians speak, I'd affected the universal pose of my brethren: a slightly bored indifference, perhaps jotting down a note here and there, raising an eyebrow, riffling through the prepared text in search of a quote - but never, ever clapping...
...have seen a production of Memory elsewhere, you may pick up upon a rather noticeable change which the script has undergone; whereas, in the original text, the women's mother returns as a ghost to speak with Mary (Catherine Gowl '02), Shohet has chosen to evoke the mother's spirit without explicitly causing her to manifest herself. This decision fulfilled several functions for the production. It significantly cut down on the distinctly European (read: long) running time of the London production, turned the show into more of an ensemble piece (though Mary still tends to dominate) and helped to root...