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Word: conveyance (lookup in dictionary) (lookup stats)
Dates: during 1950-1959
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Usage:

...distorted yet far more powerful version of the same theme (see second color page, lower right). A woman almost bursting with the life of a new child? An earth bursting with spring? A moment swollen with the pain and hope of living? Were these what he was trying to convey in the figure...

Author: /time Magazine | Title: Art: Maker of Images | 9/21/1959 | See Source »

...song," she says, "deals with a person. I have to get an image of that person and convey that image to everyone else. I have to find the highlight in the song and work up to it-to find the motive for the song and personalize it for each listener." The fool's gold from the songwriters' mines may seldom merit such meticulous attention, but the measure of Felicia's talent is the astonished pleasure of her fans. When dedicated Method Actors Paul Newman and Joanne Woodward caught her at the Bon Soir this summer, they delivered...

Author: /time Magazine | Title: NIGHTCLUBS: Lady in the Light | 8/24/1959 | See Source »

Robards does, nevertheless, have his effective points here. He has grown his own heavy beard, and looks like Macbeth. He is able to convey much of what is in Macbeth's mind through his facial expressions, especially his eyes. Many of his movements are laudable, as when, in his prebanquet conversation with his wife, he prowls restlessly around the stage like an animal, which is what he is gradually becoming (later Macduff even calls him "hellhound...

Author: By Caldwell Titcomb, | Title: Macbeth | 8/6/1959 | See Source »

...longer speeches, however, trip him up. He fails to convey all the sense, the rhythm, and the grandeur. He has not yet wholly mastered the difficult art of breathing properly, so that he often pauses at the end of a line when the thought demands that he go right on to the next...

Author: By Caldwell Titcomb, | Title: Macbeth | 8/6/1959 | See Source »

...unrelieved broiling bathos of emotionality. Betti's classic balance of philosophic dialogue and human drama was tipped over by an exclusive concentration on the latter. Lines were used as a histrionic medium in which the actors could palpitate rather than ever being allowed simply to mean, to communicate, to convey their propositional sense: it is the theatre's immemorial sin against the writer. As a result, not only was the audience deprived of the exciting display of Betti's dialectical fireworks, but the emotional climaxes which are in the script largely failed to come off because the air was already...

Author: By John E. Mcnees, | Title: The Burnt Flower-Bed | 7/30/1959 | See Source »

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