Word: confrontational
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Dates: during 2000-2009
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...Impact does not know how to confront these objections. It hides from them, with words like “optional” and “alternative,” which do absolutely nothing to challenge the beauty pageant regime. Had it more courage, Impact would make the absurdity of beauty pageants the center of the show. To allow men to compete, and to encourage them to do so in drag, is only a start...
Impact ought to confront objections head-on by emphasizing how ridiculous beauty pageants are and by over-doing—and, indeed, celebrating—the drag. After all, women in a standard beauty pageant are themselves in a kind of drag. Beneath makeup, stuffing and hairspray, how much of the person on stage really remains...
...difficult questions posed. But this is perhaps the greatest effect Strindberg’s play can hope to engender. Each character is too intricately rendered, and each struggle too complex to reassure us of our notions about men and women, good and evil. Instead, the audience must confront by curtain’s fall the glaring emptiness and disorder at the heart of human relationships, which the play, in this powerful and nuanced production, pries open...
Ashley waited three weeks to confront Jane about the diary. “I’d look over at her desk and see her typing,” Ashley says, “and then I would read what she wrote after she went to bed. I was distraught.” Everyday life proceeded normally as Jane remained unaware of what was going on; Ashley never signed the guest book...
Strangely enough, Jane is convinced that her privacy was actually violated by Ashley. “She read my entries for three weeks,” she says, still surprised that Ashley didn’t confront her sooner. While she admits some of her comments about Ashley could have been considered offensive, she believes most of the embarrassing passages were about herself. Her diary entries discussed people she was attracted to, people in her classes and people she “would be mortified to talk to in real life...