Word: acted
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Dates: during 1950-1959
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...bourgeois and upper-class elements have now vanished from the Soviet scene, the code drops Stalin's old category of "enemy of the people." and the clause authorizing imprisonment or transportation of the relatives of such unfortunates. But the new laws still provide for punishment of any "counterrevolutionary" act, a term broad enough to run the population of Soviet "corrective labor" camps back from their present estimated 1,000,000 to the 10 million...
DEFENSE: In view of Ottawa's decision to downgrade the Avro CF-105 Arrow jet fighter in favor of U.S. missiles, Canadian industry should have "ample opportunity" to compete for U.S. defense subcontracts, now sharply limited by the "Buy American" Act...
...less restful. Already soprano non grata at Milan's La Scala and Manhattan's Metropolitan Opera, litigious Maria tossed a damage suit against another offending management: the Rome Opera House, which sacked her a year ago (TIME, Jan. 20, 1958) after she walked out after the first act of Norma pleading a "lowering of the voice." With a hint that a suit of their own was in the wings, the Rome management curtly dismissed the latest Callasuit: "Ridiculous...
...Felsenstein, opera is a highly seasoned slice of life; to Wallmann, it is musical pie-in-the-sky. East Berlin's Turandot, staged by Felsenstein Protégé Joachim Herz but supervised by the boss himself, stressed naturalistic stage effects, an infinite concern for dramatic detail, and acting of startling realism. The curtain rose on an iron grille stretched across the proscenium, representing the palace gate separating the chorus of rag-clad Chinese from the palace courtyard, where one of Turandot's unsuccessful suitors was about to be executed. The mob faced the audience in silence...
...lighted with foggy uncertainty to give the illusion of immensely stretching space. The cast moved with the highly stylized, mincing grace of the traditional Chinese theater. The opera's few moments of pure horror, as when the executioner carries in the head of the Prince of Persia in Act I, were so skillfully blended into the fabric of stage movement that they were almost unnoticed...