Word: criticizes
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Dates: during 1950-1959
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...manifesto called "Declaration." The manifesto revealed that the group was not a group at all, but split fair in two over the artist's ancient agonizer: whether to save the world by his exertions or by his example. Half, led by Osborne, Movieman Lindsay Anderson, 35, and Drama Critic Ken Tynan, 31, said artists must "take an interest in social environment-and that means politics." The rest, spearheaded by Existentialist Colin (The Outsider) Wilson, 25, insisted that politics is for common people, that salvation must first be found by searching the soul...
...agnostic hero was beginning to find God in the extremity of his suffering at the hands of Nazi torturers. Up stood Christopher Logue, 31, a leftist poet passionately engaged in the campaign to ban the bomb in Britain, and shouted: "Oh, rubbish!" A moment later Novelist Elaine Tynan, Critic Tynan's pretty blonde American wife, got up and stomped out with Logue...
...Critic Alain Jouffroy: "Paris once was a volcano. It is now gradually turning into a big circus." Although there are many new performers in that circus, the best acts are the work of an older generation...
Unlike Reiner, Ormandy uses no baton. He swiveled and swayed on the podium, sweeping his arms in long, scythe-like motions, which blurred individual phrases but drew from his orchestra the longspun melodic line that is Ormandy's chief delight. The audience applauded briskly, and most critics splashed their reviews with such words as "energetic." "singing," "blazing." But for all the blaze, Ormandy's tempi were questionable, and his lush handling of the strings in the Bach reminded Chicago Sun-Times Critic Robert C. Marsh of "chocolate syrup" with ''a whipped-cream decoration." Ormandy achieved...
While most critics become crabbier with age, Veteran Atkinson seems to some theatergoers to have mellowed. After the Times covered the Sardi's party in its theater-review format under the headline FOR (NOT BY) BROOKS ATKINSON, some readers wondered how he could bring himself to rap another play. Their fears proved groundless. That night Critic Atkinson left the opening performance of Norman Krasna's Who Was That Lady I Saw You With? (see THEATER), strode two blocks to the Times and neatly scribbled a panning review...