Word: cordelia
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Dates: during 1980-1989
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GRIGORY KOZINTSEV'S 1971 screen version of King Lear is living, breathing evidence of the schoolroom adage that Shakespeare's plays were meant to be seen and not read. With the familiar sounds of Cordelia's solemn "nothing, my lord," and Lear's famous tirade "Blow, winds, blow," translated into Russian, much of the play's impact depends on the actors' ability to reinforce their foreign words with physical gestures, tones of voice, facial expressions and other universally understood signs. And it is greatly to director Kotzintsev's credit that the play's primordial, elemental power is strengthened--not diluted...
EVERY INTERPRETATION of King Lear must finally decide on the overall pessimism or optimism of the tragedy's ambivalent ending. Does Lear die for joy at the end, imagining that Cordelia returns to life, or rather does he die with a broken heart unable to bear the loss of his beloved daughter...
...distant drumroll of thunder on the cloudless eve of the Great War. Surrounding the Captain are his two bewitching daughters, with their foolish suitors, and one young woman, Ellie Dunn, who is wise and innocent enough to read the Captain's prophetic mind. In Shaw's Lear, Cordelia has a divine madness...
...taking four sets to down Brown's Kate Silver in the number-one match, 15-11, 15-11, 13-15, 15-8. Jackie Corregan defeated Brown's Jennifer Meaghen, 15-10, 13-15, 15-12, 15-10, in the number-two match. Lisa Harrison took the third match over Cordelia Hagin, 15-8, 15-1, 15-9, and the Crimson's fourth-seeded Lili Pew downed Susan Wissler...
Rounding out Harvard's freshman duo at number two, Mary Hulbert had an easier time against Brown's Karen Kleiner, winning 15-6, 15-5, 15-6. Meanwhile, third-ranked Jackie Corrigan relinquished the only other game aside from Staley, needing four games to dispose of freshman Cordelia Hazen...