Word: designer
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Dates: during 1980-1989
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Amadeus may seem an unlikely choice for a junior common room production. Not only does it require 18th century style set-design and costumes, careful musical synchronization, and nearly 30 scene changes--there is also a film version fresh in everyone's minds; unfair comparisons would be very easy to make. But director Nicholas Weir silences the doubters with a powerful show, one that highlights all of playwright Shaffer's wickedly good language...
...certainly looks like something has changed. But the community fools itself to think that the University suddenly has showed its trump card. It is misleading to think that administrators ordered the arrests--after a decade and a half of abstention--as part of some calculated shift in the grand design of Harvard's policy toward dissent...
...square meters of floor and no walls. The group led by Lachenaud figured that the collections would need 47,000 square meters enclosed by walls on which to hang the paintings. This meant putting a new building inside the old, and there was no question of designing it in the manner of Laloux. "It could not be a pastiche," says Lachenaud. "The station itself was pastiche, a 19th century parody of what the 18th century was thought to be -- iron and glass technology layered over with archaic decor. So we knew we could make no compromise with the original design...
Orsay was by far the largest job of Aulenti's career, involving thousands of drawings during six years of almost daily discussion with the museum's staff. Born near Udine into a family she calls "minor intellectual nobility," Aulenti, 59, honed her sense of design during ten years on the staff of the architectural magazine Casabella, and made her name as a designer in 1969 with her Olivetti showrooms in Paris and Buenos Aires. "In one way, she's a great success as an architect," says Italy's leading architecture critic, Bruno Zevi, who considers her work inspired and sensitive...
Some of the worst productions (as well as some of the best) are served up by graduates of the Dramatic Arts courses. Their effect, is, I think, minimal. Technical expertise is at a premium, as any fool can pretend to act but very few can design a light plot. The ART and the unsung hero of Harvard theater, the Loeb's Don Soule, have made an effort to educate fledgling dramatists and designers in the basics, but we must admit that for training we should have gone to Yale or Carnegie-Mellon and press on without...