Word: cats
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Dates: during 1980-1989
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...your article "Here Come the Robots" [March 7], Computer Journalist Carl Helmers stated, "These robots will be perceived as companions, like dogs or cats." Anybody who thinks a robot can be a chum, equal to a dog or a cat, is more a mass of shorted circuits than he is human...
Brown has a beautiful line and moves his muscles in a cat-like stretching manner that rivets one's eyes to his flowing muscles. Similarly, Allen creates electric currents through her body without appearing to exert any effort. The beige unitards with blotches of black and red on the front merge dancers into the black set and gold lights. As the dance progresses we see them less as physical beings than as conglomerations of contracting muscles making waves. The concentrated experience of these two bodies rolling on the floor--as if it were the most natural motion possible--leaves...
...impressions of the travelers jouncing along in the King's wake are blinkered by their subjectivity and their failure to account for history's indifference to the logical linking of events, which can be imposed by hindsight. Only Barrault's marvelously ironic Restif, curious as a cat and just as amoral, has things right. He has a taste for human folly, and he senses there is a whopper in the making up the road. Scola's imagery has a maturity that matches the script's subtlety of detail and simplicity of overall vision. The actors...
...dealt in taboos, yet the taboo is often the touchstone of drama: in the profoundest Greek play, a man murders his father and marries his mother. Williams mesmerized as well as outraged playgoers with Orpheus Descending (murder by blowtorch), A Streetcar Named Desire (rape, nymphomania), Summer and Smoke (frigidity), Cat on a Hot Tin Roof (impotence, alcoholism, homosexuality) Sweet Bird of Youth (drug addiction, castration), Suddenly Last Summer (homosexuality, cannibalism), and The Night of the Iguana (masturbation, fetishism, coprophagy...
...what a lion is to the jungle. At its best, his dialogue sings with a tone-poem eloquence far from the drab disjunctive patterns of everyday talk. He is an electrifying scenewright simply because his people are the sort who are born to make scenes, explosively and woundingly. In Cat on a Hot Tin Roof Big Daddy jerks the crutch out from under his son Brick's arm and sends him sprawling in agony; a few minutes later Brick kicks the life out of Big Daddy by telling the old man that he is dying of cancer. Williams...