Word: caste
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Dates: during 1990-1999
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...have performed in four shows at Harvard over the past three years, and as a member of the cast of the upcoming HPT 151 show "I Get No Kick From Campaign," I take Johnson's considerations, recommendations and accusations extremely seriously. While I wholeheartedly agree with the statement that there are not enough opportunities for students to work with professional directors and choreographers, I think it unnecessary to call an end to a wonderfully unique tradition at Harvard in order to do so. In no way do I agree with the statement that the script, casting or production...
Which brings me to my solution. Keep the tradition of the Hasty Pudding show alive but also start a new tradition by forming a female equivalent. None of this is to say that the inclusion of women in the Pudding cast would "lessen the quality" of the HPT but rather that it would cause it to adopt a different quality. There is something about the show in its current form which is a unique brand of entertainment which we at Harvard and many of our theater alumni are willing to stand up for. BRYAN W. LEACH...
...Crimson able to get quality scoring from Fisher's supporting cast in the frontcourt. Senior forward Bill Ewing saw limited action and scored four points on two interior shots through 12 minutes. Sophomore forward Chris Lewis played his first substantial minutes of the season but finished only 1-of-2 for two points...
Obviously, Twilight was politically-charged. Presented by the AAA players and Black Cast-organizations whose political and artistic goals are closely connected-it was clear that art here was subservient to the show's political message. Outside of the monologues, every element of the production was representative of "the message." Twilight is produced in the round, and over each of the four sets of bleachers is suspended a drop representing one of the four ethnicities that clashed in the riots. The audience is divided by these pendants into neighborhoods; Black, Korean, Latino, White, "drawing the audience into the conflict," according...
...fragment aesthetic is carried over into the blocking and movement of the cast. In the interpretive dances that broke up the monologues, too many representational constraints were placed on the choreography to permit exuberance or even beauty. Each move had to mean something, and resulting dances were mechanistic, burdened by the weight of "the message...