Word: criticism
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Dates: during 1950-1959
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...attention has been called to the letter of yours that Cyrus Durgin, drama and music critic of the Boston Globe, printed in last Sunday's newspaper. I was shocked to find a person of your eminence unleashing such an ill-timed and sloppily thought-out barrage against the Cambridge Drama Festival's tenancy this summer of the new, State-constructed Metropolitan Boston Arts Center (MeBAC); and I was surprised to see Mr. Durgin rising to your bait...
...apologist for Lee Falk's now defunct Boston Summer Theatre, and, more especially, for the Group 20 Players at Wellesley, now in their sixth season. I have no intention of taking one side or another in any conflict between the C.D.F. and Group 20; as a journalistic critic, I have been to see and/or review almost all the summer play productions in the area for a good number of years, and my admiration for the impressive roster of achievements by both these groups is strong. But your letter contains so many errors and distortions that there is no choice...
...Macbeth wields a unique and ineffable power over mortal senses--and this despite the fact that the text we have is relatively corrupt and possibly incomplete (only the extremely early Comedy of Errors is shorter; and Hamlet is nearly twice as long). If I were a better critic I might perhaps be able to verbalize this power. Those who want the most keen, profound, and sometimes conflicting discussions of this play (and the other great tragedies) should turn to the writings of A.C. Bradley and G. Wilson Knight...
Selden Rodman has made a, host of both friends and enemies in Manhattan always impassioned, sometimes shrill art world. What excites both camps is Critic Rodman's controversial habit of asking big questions about art and then offering plain answers in book form. Rodman's The Eye of Man (TIME, Nov. 28, 1955) asked whether artists should not "communicate spiritual truth," and replied with an emphatic yes. Now Rodman is deep in a new book, The Insiders, which asks whether artists should not paint what they feel in a recognizable fashion for all to understand. Again he gives...
...simple and true pictures of the world's most distinguished woman painter, Dame Laura Knight. To a few, the pictures' heartfelt realism had that musty look of the faraway and long ago; visitors were hard put to assess them by contemporary-and so often geometric -standards. One critic noted that Dame Laura painted like a man. Said she in London when she heard of it, "What man?" Another called her a "popular painter," which roused her British ire the more: "Don't call me popular. I paint what I see, and I don't gild...