Word: adams
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Dates: during 1960-1969
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...Great Awakening" of colonial days, it was the "Old Side" v. the "New Side," and Jonathan Edwards bringing sinners to their trembling knees with detailed word pictures of hell. Edwards and his followers did much to erode Calvinist determinism by interpreting Adam's fall as not laying irremediable guilt upon man, but only an inclination to sin. After the Revolutionary War, it was the "Old School" and the "New School," which subordinated the sterner tenets of the reformed faith to the idea of God's love. The liberalizers won out in the '20s in a battle...
Nearly everyone else is ridiculously ineffectual, most of all Adam Parry's Ajax. Parry looks neither powerful nor noble; his great speech on illimitable time is absurd, and one suspects that intransigeance is the least of his problems. So also with Teucer (James Rooney) and the Messenger (John van Sickle), who is not helped by the mop he wears around his chin; and the wily Odysseus (Ray Sokolov) is no subtle man at all, just a ham. They are all hams when they want to emote something; it is much as if they conceived the play in terms...
...Messrs. Rexroth and Christensen may believe that they created something free of Freud and Jung when they offered their San Francisco ballet titled Original Sin to the public. In reality, they are much closer to the two psychiatrists than to the original sinners. Their Adam and Eve dance is in the tradition of sorcerers and witches, young nobles and peasants of the 14th century (see cut from The Entry of Isabel of Bavaria into Paris as Bride of Charles...
...permitted to pick from a slate of state-approved candidates, most of whom must be Communist. In Cracow, a Catholic candidate won more votes than Communist Premier Josef Cyrankiewicz, who was on the same list, and in Wroclaw, a Catholic got more support than Gomulka's Foreign Minister Adam Rapacki...
...Placid Van Gogh. Biblical themes, so often shown in bloody violence are also restrained: Carpaccio's The Meditation on the Passion, a somewhat surrealistic scene of peaceful death, or Giovanni di Paolo's Expulsion of Adam and Eve from Paradise, a nonviolent exile in which the principals appear to have shed everything, including expressions of remorse. Of the relatively few El Grecos in the U.S., the chosen canvas is not an anguished saint or sinner, but a corpulent Trinitarian monk at ease in an armchair...