Word: boss
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Dates: during 1960-1969
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Back in Washington after two days of arduous picture taking during the funeral of Konrad Adenauer, Lyndon Johnson's White House photographer, Yiochi Okamoto, 51, was visibly jumpy when reporters asked him about his boss's meeting with Charles de Gaulle. Okie was the only other American present when the President got together with De Gaulle in a private room in the West German Bundestag for the first time after 31 troubled years. Well, persisted the newsmen, how would Okie describe the momentous event? "It was," he replied succinctly, "f/2 at 1/30...
...play, Grass's first, depicts a caricatured Bertolt Brecht -- The Boss -- rehearsing an adaptation of Coriolanus in East Berlin, June, 1953. Brecht, and here Plebeians tells no lies, has transfigured Shakespeare's tragedy into a didactic tract for revolution. Shakespeare's silly tribunes of the people become radical ideologues; Coriolanus -- the "colossal" as he is described in Plebeians -- is reduced to a despot with a certain knack for winning battles. And quite as much as Brecht tampered with Shakespeare, Grass has tampered with Brecht. He has made him a patronizing, cynical esthete resigned to the failure of revolution...
Dean Gitter, who plays The Boss, has molded a character that is at once Brecht, Boss, and audience. His reactions to the events of the play -- to the East German workers' uprising -- are camouflaged with wit and contempt for three full acts. We can detect little going on in his mind, save reflex action, but we are nonetheless forced into the same chair in which he sits, to consider the same events with the same condescending ambivalence. In the fourth act, when the uprising is over and The Boss at last permits himself to respond -- to its "defeat...
Maver has reinforced the audience's identification with The Boss by placing him on a platform extended out from the stage. Much of the time he simply sits there, a patron himself, slowly absorbing the events of which he has chosen not to be part. Yet Gitter's detached performance is a masterpiece of contradiction. With small, restrained gestures, and occasional movements of the mouth with and without voice, he echoes and narrates the production. Physically he has come as close to Brecht as his appearance permits, but he is never even tempted toward mimicry, and the potentially cheap laughs...
...rockets, Roessler ultimately became the prey of the Gestapo, which stumbled onto his existence by intercepting his radio messages to Moscow. Fortunately, the Gestapo had not intercepted the radio messages from the ten OKW officers, and so they remained undetected throughout the war. But Gestapo Boss Walter Schellenberg zeroed in on Roessler in Switzerland, and only dodging by the Swiss-who knew about Roessler and tolerated him-kept Nazi agents from nailing...