Word: crucifixions
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...Passion play. The Prince (Ryszard Cieslak) does not have to be Christ, but everything about the performance suggests that he is. It is as if one were viewing the crucifixion and being crucified at the same time. The incantatory rendering of dialogue sometimes resembles the Mass. The sounds that the cast utters are as arresting as if they were the cries of the damned in hell. On the rack of torment, Cieslak's body shudders convulsively from head to toe, and few athletes could begin to match the physical suppleness of a cast that seems as fit for dance...
...cosmonaut but also that the star of Bethlehem was his rocket A being from a higher civilization ("My Kingdom is not of this world"), Christ came to bring advanced social ideas of love, charity and democracy to a slave-society world. He was immune to the human death of crucifixion, and "ascended into heaven" after promising to come back. The idea of Christ as a cosmonaut did not bother Izvestia, but Christ as a democrat...
...Arabs rushed to the still-burning mosque, threatening firemen who were trying to control the blaze and shouting "Nasser! Nass-er!" When Israeli Defense Minister Moshe Dayan arrived on the scene, he was jeered. An Arab mob coursed down the Via Dolorosa-the path Jesus took to the Crucifixion-shouting "Death to Israel!" Police blocked them at the fifth Station of the Cross...
Youngest exhibitor of all is Al [Alfred J-] Smith (b. 1949), a Boston University student. One would never suspect his youth from the four paintings he has in the show: the punningly titled "King of Spades," "After the War," "Crucifixion," and "The Feast." Smith is also a poet, and he brings a poet's imagination and fantasy to this quartet of allegories. These are sophisticated and profound works. They also have intriguingly enigmatic features, which keep the viewer standing in front of the canvases for a long time. Favoring subdued colors, Smith has executed these oils with complete technical assurance...
...staging of the crucifixion provides another prime example of Mr. Mayer's stagecraft of restoration. The use of a grand, reflective aluminum cruxifix--totally unrustic and aggressively mechanical--renews one's sense of horror in an etiolated atrocity. No measure of guignol, no matter how richly sanguinary, no matter how grande could accomplish this alone...