Word: casey
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Dates: during 1950-1959
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Slander & Innuendo. Furthermore, added Shaftel at the hearing, "I cannot imagine an academic administrator of any sense and magnitude and dignity saying to Sean O'Casey. . . : 'You may not teach the drama,' or telling Picasso: 'You cannot teach art in the United States.'" But, asked Jenner, what if a teacher "slants his teaching toward the Communist Party, which party's avowed purpose is the overthrow of this Government?" That, replied Shaftel, is something that "must be settled by the academic profession . . . This line of questioning is improper and does harm to the teaching profession...
...artists of 1952: Swedish Sculptor Carl Milles, whose 38-figure Fountain of Faith was unveiled in National Memorial Park, Falls Church, Va. last fall; Wagnerian Soprano Kirsten Flagstad, who made her farewell appearance at the Metropolitan Opera last spring; Dramatist Sean (Cock-adoodle Dandy) O'Casey, "the most magnificent prose writer in the modern theater"; and the Dancers of Bali...
...Rose and Crown, O'Casey tries to straighten out this snarl, and his means are neither new nor pleasing. He describes the great houses in detail-the Sheraton, the Chippendale, the mother-of-pearl, the ebony, the sparkle of diamonds on "a white and saucy breast." It was a spectacle, he says, "that fair dazzled the eye," and he admits that he found it "elegant," "gracious." even "delightful at times." But he then goes on to say how much it disgusted him. Moreover, his hostesses were all deaf and seemed not to hear when he cried: "Come, sell...
World by the Waist? The same sort of double life persisted when O'Casey went abroad. He traveled to the U.S. in all the luxury of cabin class, but he atoned for this by asking "if he could have his meals with the crew." In New York (for the production of Within the Gates'), he landed in a world of "walnut and mahogany reflecting the gleam of glass and the glitter of silver," a world more "fit for Arnold Bennett. . . than . . . Walt Whitman." At which point the reader suspects that it fit O'Casey like a glove...
...talents are undeniable," writes Sean O'Faolain, "but so far they have not produced a play without the stamp of the workshop on it." The same can be said of O'Casey's autobiography. Most of its long and lyrical passages of proletarian praise are marked chiefly by what Stephen Potter might call prosemanship. Here & there are real gems of observation and poetic imagination. But when O'Casey declares that he would like 1,000 years of life "to encircle [the peoples of the world] with his arms like a girdle encircling the waist...