Word: chamberlain
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Dates: during 1980-1989
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...course, arrogant, a fallacy of rationalist optimism, to imagine that all differences in the world can be settled by well-meaning conversations. Neville Chamberlain went to Munich entertaining that notion. Not every human conflict is ripe to be settled in the court of reason. Still, certain kinds of tragedy have become intolerable in the world as they never were before: the lushly cataclysmic plot development that history could once absorb (even to the extent of permitting two "world wars") will no longer do. When the world has so armed itself as to make the use of those arms a stroke...
...occasional need to get tough. Fisher devotes three chapters of Getting to YES to trying to show that negotiators who pay attention to the interests of their adversaries need not give in. But his justifications, and his ever-present imaginary scenarios, do not persuade. One wonders what "yesable proposition" Chamberlain should have made to Hitler at Munich--or whether, in fact, he did. By avoiding tough cases, Getting to YES begs the question of just when negotiators should refuse to budge. And it ignores scenarios in which trying to satisfy another's "interests"--like Hitler's at Munich--can undermine...
...know, but I'll tell you! That man has taken not a step that wasn't to help you, Biff. He slaved for 36 years so that you could be a success. And all you see is a bumbling phony old fool who talks to himself." Sally Chamberlain plays Linda with great energy, loyally protecting her husband, her heart torn over his failures because she sees he cannot accept them. The small Charles Playhouse lends itself nicely to these scenes, adding an uncomfortable intimacy to the family confrontations...
...tendency, after inventing an effective device, to continue using it until it has beaten the audience insensible. In the first courtroom scene, Polonius, at a signal from the King, begins to thump his stick on the floor. At each impact the courtiers clap in unison; gradually, the chamberlain accelerates his pounding till the room rings with hearty applause. All well and good; but, having established the procedures. Cain has Polonius repeat the gesture six of seven times before the scene closes, and at least four more times by the end of the play...
Like all great extravaganzas, the royal wedding requires a producer (the Lord Chamberlain) and a director (Lieut. Colonel John F.D. Johnston, who recently received a knighthood for his organizational skills). It also, of course, has a supporting cast of thousands. Along with the home-grown aristocrats, there are all the invited guests: political (Nancy Reagan); monarchical (Queen Beatrix of The Netherlands, the King and Queen of Sweden, the Duke and Duchess of Liechtenstein); social (Sabrina Guinness, Sir Hugh Casson); and sentimental (Flo Moore, who kept Charles' Cambridge rooms in order; Henry and Cora Sands, who provided Charles with some...