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CORRUPTION IN THE PALACE OF JUSTICE, by Ugo Betti, descends into the degraded minds and souls of men, and in that hell finds a startling hope of heaven...

Author: /time Magazine | Title: Television: Nov. 15, 1963 | 11/15/1963 | See Source »

CORRUPTION IN THE PALACE OF JUSTICE, by Ugo Betti, is about that debased, fallen being called Man, who, in some unassailable corner of his tarnished soul, yearns for, reflects, and presupposes a radiant otherness called God. Justice is a play to disturb the mind and chill the soul...

Author: /time Magazine | Title: Television: Nov. 8, 1963 | 11/8/1963 | See Source »

Corruption in the Palace of Justice, by Ugo Betti, is about that debased fallen being called Man, who, in some unassailable corner of his tarnished soul, yearns for, reflects, and presupposes a radiant otherness called God. Compared to Justice's rigorous goading of the individual conscience, such religiously oriented plays as Eliot's The Cocktail Party, Greene's The Potting Shed, MacLeish's J.B. and Chayevsky's Gideon seem like Communion services for the morally complacent...

Author: /time Magazine | Title: Theater: Day at the End of Night | 10/25/1963 | See Source »

...Betti's underpainting enriches his narrative line with spiritual significance. Just as the man who journeys to the end of the night finds day, so Cust in his single-minded pursuit of evil finds his soul, and in that soul a damning consciousness of his own sin. Just as the world, symbolized by the court, cannot cleanse itself, being innately corrupt, so Cust the sinner cannot save himself. He needs to be redeemed by innocent blood and forgiven through the gratuitous gift of love to the totally unworthy. Elena, the symbol of this grace, performs the dual function...

Author: /time Magazine | Title: Theater: Day at the End of Night | 10/25/1963 | See Source »

...late Italian Playwright Betti was obsessed by what he called "the bewildering incongruity that we see between our existence and what it ought to be according to the aspirations of our soul." Kafka was similarly obsessed, but he found the distance between God and Man unbridgeable, while Betti bridged it by daring to revert to orthodox Christian doctrine. Not a play to stir the passions or warm the heart but to disturb the mind and chill the soul, this exceptional off-Broadway production is an intellectual and spiritual jewel in the theater's cardboard crown...

Author: /time Magazine | Title: Theater: Day at the End of Night | 10/25/1963 | See Source »

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