Word: canonization
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Dates: during 1970-1979
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...reputation swiftly diminished, and Camus's tone of stoicism and forbearance was swallowed in the crowd noises of the '60s. Only now has the canon been appraised as a coherent statement about the possibilities of secular salvation. One sentence in The Fall, Camus's last published novel, sums up a life and a work: "Don't wait for the Last Judgment. It takes place every...
...variations of the original row. These in turn are rigorously organized in a series of traditional forms. There is an extensive sonata structure in Lulu's scenes with Schön; a rondo for Lulu's more ambiguous encounter with Schön's son; a canon in which one voice following another imitates the painter's pursuit of Lulu...
Lance Morrow should have mentioned that the best evidence of the peaceful coexistence of science and religion is the Big Bang theory, which was conceived and stated (1927) by a Catholic priest-professor at the Catholic University of Louvain, Belgium, Canon Georges Lemaitre...
...example of the kind of innovation Brustein could bring to undergraduate drama, take his basic "no more masterpieces" approach to the "classical" canon, an approach that discourages dull, "definitive" productions, promoting constant re-interpretation and directorial probing into the heart of each play. He has written at great length, most recently in a splendid defense of Henrik Ibsen in this month's issue of Decade magazine, about applying this theory to contemporary social problems. A director, he has written, must try to infuse the "classics" with comtemporary meaning, to apply the general human problems as the playwright articulates them...
Soon after arriving at Yale, Brustein began--perhaps out of necessity--to formulate a new approach to reproducing classics in the theater. In his article "No More Masterpieces" (1967), Brustein argues that the classical canon (which includes Shakespeare and modern playwrights such as Ibsen, Chekhov, and Strindberg) should continue to serve as staple for repertory theaters, but that there should be "no more piety, no more reverence, no more sanctimoniousness," and no more dull, "definitive" productions: each new production of a classical play should be regarded "less as a total re-creation of that work than as a directorial essay...