Word: delle
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Dates: during 1980-1989
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There were some indications that the interviews were carefully stage-managed. Jimmy Dell Palmer in captivity was pictured playfully waving a pistol in front of an Amal guard. After he was freed last Wednesday, in advance of his comrades, he said he had argued against being photographed in that pose but yielded to persistent demands from his captors...
Conwell said that he had seen all the hostages in Beirut and that all were in good health, although he acknowledged that they were under "strain and tension." It was later reported, however, that one of the hostages, Jimmy Dell Palmer, 48, of Little Rock, had been taken to a hospital for examination. Palmer suffers from high blood pressure and a heart condition, and his worried family had sent medicine to him in Beirut...
...King Stag, written in 1762 by Carlo Gozzi in revolt against the realistic naturalism of contemporary theater, is a feast of the imagination with the technique and logic of the commedia dell'arte, Italy's native improvisational comedy. The third Gozzi production directed this year by Andrei Serban. The King Stag is a fairy tale set in the oriental kingdom of Serendippo where the good king Deramo is looking in vain for a worthy wife. His trusted but treacherous minister. Tartaglia, tries to insinuate his own daughter, Clarice, into the king's affections to distract the king from the beautiful...
...costumes, worth the price of admission in themselves, are a cross between commedia dell'arte and Oriental styles, corresponding to no known time or place. Some, like Tartaglia's shimmering, black, bat-winged cape, are sumptuous and frightening. Truffaldino, the simple-minded bird catcher, on the other hand, looks hilariously like Big Bird with a truffle-shaped head. The characters' exotic masks, with their fixed and staring eyes, give even the humans in King Stag an entrancing and surreal beauty. When the characters speak from bodies not their own, as when Tartaglia inhabits Deramo's body to deceive Angela...
Like Serban, Strehler introduces anachronisms into his production - the commedia dell'arte for the comic duo of Trinculo and Stephano, for example, and a hint of Peking opera mannerism for Ariel - but they effectively underscore the contrasts between the spirit and human worlds, making the confrontation even more pointed. This is a Tempest of clarity, strength and purpose - exactly what was lacking in the Royal Opera's Turandot. The cross-cultural irony is inescapable: the English company presenting the Italian opera had failed, but the Italians staging an English classic had made a glorious success...