Word: convey
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Dates: during 1950-1959
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Brecht's slightly sophistic purpose is to convey the irony of his bitter and didactic fables by emphasizing the unreality of the stage. This he does by dispensing as much as possible with stage settings, by interjecting straight-forward moral statements directly to the audience. In The Three-Penny Opera he went so far as to have a lettered scroll unrolled at each scene. He was greatly influenced by Oriental drama and from it adopts the idea of using masks, which give the characters a certain archetypal quality. He also abandons the proscenium curtain, thus adopting from the Orient...
...eleven-year-old daughter born with six fingers on one hand. Beyond having brought the girl up to feel like someone with two heads, and having kept her away from school and other children, Margaret - while flaunting her contempt for her husband - does not know how to convey her love to her child...
...other hand, the film has a certain unity of expression that the discrete quality of language--subject, verb, object--denies to the novel. And furthermore, language cannot of course convey non-verbal experience. There are times when a picture is worth ten thousand words...
...lacks that sense of bitterness and pain that makes one feel that not only was Thomas bitingly ironic about the world, but also critical of his criticism of it. Thomas's readings transmitted the presence of a naked and passionate soul which Mr. Williams cannot hope to convey. Williams as entertainer seems to over-ride Thomas as poet, and thus in comparison the reading seemed a trifle gutless--sometimes straining for a laugh that would be better left a snicker. Thomas's vignettes gained force as the performance wore on and Williams abandoned the conscious mimicking of Thomas's speech...
...bold, vigorous hardness, converting a linear element to sculptural, determined shape, substituting candid and forceful areas for greater refinement of expression. In dealing directly with problems of drawing, via lithography, Barlach's result becomes highly tenuous, unsure, and often completely confused. The same attempt at vitality employed to convey vignettes brutal in subject falters and emerges much weaker in its substitution of the crayon for the chisel or cutter. Faced with a flexibility and opportunity for nuance far greater than that offered in the woodcut process, Barlach's "expressionism" becomes less expressive...