Word: texts
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Dates: during 1970-1970
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...coordinating two groups. the actors and the spectators. He doesn't touch people but is very concerned with the psychic communication involved. His method of rchearsal which he calls via negativa, is a stripping away of any barrier between the actor and the spectutor: he says that even the text is a barrer because it is just one more metaphor separating and so it too must be made subservient to the actor-spectator relationship. It just has to be total communication. Now, this seems to work for him in his special situation. What do you think about Grotowski in relation...
...prefers staccato, the breaks of breath, which render every particle of every line crystalline. He does not admit superfluous notes, dynamic nourishes, believing that "gratuitous excess spoils every substance, every form that it touches." He is most traditional, and most original, in his use of severely-delineated polyphony, rhythm, text, and articulation. Stravinsky has always demanded austere linear counterpoint, a practice which recalls Mahler's dictum that "All music is counterpoint...
After waiting a month, Clay angrily released the text of the refusal, intending "to make it known at this time our outright disgust with the President's policies and his refusal to give us an audience." Since they submitted their request, Clay said, Nixon has found time to meet with "representatives of 11 patriotic and veterans groups, the Citizens Committee for Peace with Freedom in Vietnam, golfer Arnold Palmer, and singer Johnny Cash...
...avoid humiliating the man he has praised so handsomely in the past. Agnew also insisted that he was not to be "muzzled." Nonetheless, in a speech at Boise, Idaho, Agnew excised some harsh phrases about "choleric young intellectuals" and "tired, embittered elders" that had appeared in his advance text. He was similarly subdued when he dedicated a Confederate monument at Stone Mountain...
Like the production as a whole, Olivier makes no easy appeal to the audience's sympathies, but holds to an avid, harshly funny portrayal of the cruelty of human justice and the bitter ironies of human mercy. At the end of Shakespeare's text, Jessica and the merchant, the two characters whose triumphs have been bought at the cost of Shylock's downfall, pause alone and silently onstage before the final curtain. The moment apparently is intended by Director Miller to evoke Shylock, and it works. Such is the flinty power of Olivier's unorthodox performance...