Word: controlled
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Dates: during 1990-1999
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Spooky: I think it's an issue that the artist usually gives up control of the matter once the music goes out or once a critic goes by the gallery. They become the interpreter of the aesthetic. And to me what I'm doing is dealing with the notion of a conceptual framework where narrative itself becomes an ambiguous and amorphous place. Your music, who created it, who owns it, who distributes...
...which draws itself out over the entire novel in a lush, lingering continuum of heightened sensations, the country setting of water and trees providing the perfect isolated arena for Ann's realizations about life to flower. For the first time, she realizes that "falling in love" can mean talking control of one's own life. In Ann's words, "Every defense she'd ever consciously or unconsciously taken refuge behind suddenly dropped like the buildings you saw demolished in clouds of dust and in its place a new scaffolding was thrown up, a structure upon which she could build...
Leading actress Tegan Shohet '01 artfully portrays Celimene, who deftly manipulates her suitors and rivals with seductive charm. Shohet is probably the least exaggerated of the characters; her calm control reminds audiences that she is running the show. Her greatest exertions accentuate Celimene's sexuality, tempting Alceste with a stocking-clad leg or suggestive negligee. One of the best scenes in the play has Celimene transforming Alceste from an indignant suitor into a groveling wretch. As she humiliates Alceste into wearing a ridiculous feathered band, the audience sees Celimene at the height of her coquettish powers...
...each new personality takes the author on tangents that lead farther and farther from Bartoli. Yet, this was probably exactly what Bartoli wanted. By allowing Hoelterhoff access to the backstage of the opera world, Bartoli had the right to read everything in the book and to have some control over how she was portrayed. Because of this, Hoelterhoff only briefly mentions Bartoli's gradual weight gain and only paints a few unflattering portraits of the pasta-eating mezzo. This is not to say that Hoelterhoff pulled any punches with Bartoli's colleagues. Hoelterhoff seems obsessed with the gargantuan proportions...
...world may or may not end in a nuclear conflagration. Phillip Morrison and Kosta Tsipis offer "Reason Enough to Hope: America and the World of the 21st Century," as they discuss arms control and global security and development. The talk is hosted by WBUR's Christopher Lydon. 5:30 p.m. Wong Auditorium, MIT Tang Center, 2 Amherst St. 253-5249. FREE...