Word: contrastes
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...stark contrast with her previous work, Britney has none of Spears’ trademark overpoweringly catchy tunes. For all her critical failure, at least songs like 1999’s “Sometimes” and 2000’s “Lucky” possessed melodies liable to stick in one’s head for days. Instead, Britney is one long stretch of discouraging filler songs virtually devoid of melody. Where a workable melody does exist, as in “That’s Where You Take Me,” her producers smother...
...their hands with nails—are by far the best works of the small exhibition. The turbaned man, who has a tiny pager stuck in his belt, has a slightly smug turn of the mouth. His drops create a perfect ring of circles where they fall. By contrast, the drops of the woman, who looks a bit more uncertain, splash in midair and fail to form a pattern. This suggests a subtle statement about the uncertain role of women in society, whether in the U.S. or Pakistan...
However, the show follows its uneven opener with one of its better vignettes, “Bitter Sauce.” In “Sauce,” Rengin and Herman create an excellent contrast between abusiveness and meekness. Although predictable, Rengin’s double betrayal makes for an entertaining spectacle as she sways drunkenly across the stage and alternately sputters expressions of love and despair...
...takes place a year to the day after the death of the sisters’ father. Despite the constant allusions to their father made by the oldest sister, Olga (Lerhman), and the depression of the middle sister, Masha (Thomas), Irina maintains an attitude of excitement that is a key contrast to her sisters’ dourness. In this scene, the audience is also introduced to their brother, Andrei (Daniel A. Cozzens ’03), and his off-beat fiancée, Natasha (Kathleen A. Agresta ’02), as well as to the various army officers who punctuate...
...action as “spontaneous, rather emotional and very chaotic. They didn’t seem to be able to reflect on their organization at all and the constant infighting meant the protesters couldn’t form clearly defined goals for their action.” In contrast, Elfenbein summarizes the core premise of the PSLM’s campaign as “focus on the issues. We didn’t talk about ourselves as sacrificing anything, nor did we talk about the need for social revolution. We wanted to communicate that the sole reason...