Word: derfully
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...Less is more," Mies van der Rohe said, and even the architects are beginning to doubt it. In the theater less is less-and less, and less. The Age of Cool is a blight to the theater. Drama was born to be larger, more vivid and more intense than life. Beckett tells us that life is a drab, attenuated prelude to death. The vaudeville japes of the two tramps Didi and Gogo in Godot are supposedly the ways in which we all kill time before time kills...
Kandinsky and Moholy-Nagy, the carriers of the Constructivist obsession with space, were the major proponents of Soviet ideas in the Bauhaus. From Russian stage design followed the Bauhausler Oskar Schlemmer, and from Tatlin's chess table and Rodchenko's functional chairs came Mies van der Rohe's Barcelona chair and Breuer's armchairs. Of course many of these developments ran parallel, and which derived from which is more a question of interaction than origination, such as Mies van der Rohe's model for a Monument to the Third International...
That apocalyptic allegory is the plot of Der Dra-Dra, the latest work of one of Communism's most controversial artists. Wolf Biermann, 34, a sad-faced East Berlin balladeer, is the spiritual heir of Bertolt Brecht, who spent his last years in the city. But while Brecht directed most of his barbs at the abuses of capitalism ("Don't rob a bank. Own one"), Biermann aims his satire at the political dictatorships of both left and right. Biermann's approach has hardly endeared him to Communist Party Boss Walter Ulbricht and East Germany...
...poems. He lampoons the Bilroelephanten (bureaucratic elephants), who quake in fear before his guitar, or pokes fun at the effects of the Wall on East Germans ("When I die, I'll become a guard and patrol the border between heaven and hell. Show your pass, please.") In Der Dra-Dra, he attacks what he describes as "parasitic power of all sorts"-which suggests Franco and Papadopoulos as well as Ulbricht and Brezhnev...
...nation of Israel. On first reading, it seems just too simple to be really good, but the subtlety of the poem only emerges after several exposures. The translation is almost totally literal, and thus loses some of the devices which make the original succeed. An effective alliteration ("die Wande der Wiiste wissen von Liebe") is lost in translation as "the walls of the desert know of love." The strict rendering into unwieldy English detracts immeasurably from the starkness of the German. Words which can be used in German poetry, like Gestirne, or Jahrtausend, are rendered in unwieldy English words- constellation...