Word: contentively
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Dates: during 1960-1969
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...snake handling [Nov. 1] is based on Jesus' words in Mark: 16. Modern versions of the Bible do not include these words in the text. The oldest Greek manuscripts do not include "snake power." Modern scholars generally agree with James L. Price of Duke University that "vocabulary, style, content and manuscript evidence support the conclusion that this ending is no part of the Second Gospel. Later scribes supplied it." The King James translators did not have access to these early manuscripts, so the words do occur in their version...
...will no doubt observe that in Hank Tattersall, the anti-hero of Pajamas, the author has summoned up a kind of upside-down Faust, an itchy, gifted, compulsively discontented man who can do anything, but is damned if he does or he doesn't. Simpler souls may be content with noting that Tattersall has a vested interest in failure. And so does De Vries, for Hank's hegira through a series of professions allows the author to lampoon various American scenes and sideshows, sometimes with Swiftian savagery...
...want my audience to feel rather than think," said Playwright Megan Terry about her Viet Rock, which ran for 62 Manhattan performances in 1966. Obviously, she has not changed her mind. The People vs. Ranchman, which opened off-Broadway last week, is equally devoid of intellectual content. Paradoxically, though, it is likely to leave a mature playgoer doing more thinking than feeling...
...absence of rational content is what is worth thinking about. It is not just that The People vs. Ranchman is a bad play. It is not out to be a good one, in terms of drama's traditional concern with fate, foibles, language and ideas. Like the propaganda playlets of guerrilla theater (TIME, Oct. 18), this play is intended to be a felt experience for the audience-firsthand rather than projected. Yelling and chanting, the actors mingle with the playgoers on the way to their seats. No makeup is used, the lights are always up, there is no intermission...
...eyebrows thinned, the mouth made severe and straight. It is only the emotional makeup that is wrong. Lawrence was one of those rare anomalies, like Lotte Lenya or Marlene Dietrich, for whom pitch was not important. She could wander off key in every bar, yet the song's content remained pure and intense. Andrews is ten times the musician Lawrence was; her voice never varies a hemisemidemiquaver from the written notes. In the exuberant comic numbers, person and impersonator coincide. But when Julie attempts a bittersweet ballad, like Do, Do, Do or My Ship, the styles collide. Lawrence always...