Word: context
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Dates: during 1970-1979
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...obsessions. Craig's films include features about his secretary's sensuous mouth, copulating dolphins, even a reel starring a belly dancer's navel that smiles, frowns, bites and becomes a puckered keyhole through which a documentary collage of 20th century horrors may be ogled. Out of context, the man sounds comical. But the harder he pursues his pathetically deformed efforts to feel alive, the more destructive he gets...
...default, the alternative becomes organizing against the university. In this way, campus rage is self-contained and frivoled away on college presidents and non-issues. The most seductive non-issue is ROTC- even on campuses where it no longer exists- for it provides a context for "political organizing...
...play reinforces my earlier prejudice against the undisciplined use of rock music in a non-musical play. The music was incongruous in context and dragged on through six consecutive ballads (each thoroughly modernized). Then, about a dozen men, the Satyrs, rushed in-bare-cheated with funny fur-trimmed pedal pushers-to dance a lascivious, arm-flailing ritual. I felt suddenly nostalgic for the famous sheepshearing scene in The Winter's Tale that I always had been told was life affirming and graceful. I tried to single out Perdita and Florizel in the crowd and my eye fell on them gleefully...
...earlier biography, Jack Newfield's Robert Kennedy: A Memoir, is without doubt the best of the Kennedy books; in comparison to it, On His Own seems especially vacuous. Newfield does not try to defend Kennedy's mistakes, but rather makes them understandable-and forgivable-within the context of his character. Writing largely from his personal contact with Kennedy, Newfield succeeds in developing a comprehensive view of him and his political development. His Robert Kennedy is outstanding. There is no reason to read On His Own: RFK 1964-68 in addition...
...same way, Bernstein has used the audience confrontation of the Living Theatre without its self-conscious awareness of its own method. Audience confrontation is important, not in-itself or for-itself, but within the context of the theatrical illusion, which, in this most metaphorical work, Bernstein and his cast have wisely chosen to grant. At the close of the first act, the inmates march toward the audience singing "Marat we're poor and the poor stay poor. Marat don't make us wait anymore. We want our rights, and we don't care how. We want a revolution...