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Died. The Marquis Jules Philippe Felix Albert de Dion, 90, former "kingpin dude" of Parisian society who forsook boulevard gaieties in the '90s to become a pioneer automobile manufacturer, founder of the famed Automobile Club of France; in Paris...

Author: /time Magazine | Title: Milestones, Sep. 2, 1946 | 9/2/1946 | See Source »

Oddity. In Manhattan, San Francisco Municipal Attorney Dion Holm was granted train reservations by ODT to go home and fight a case against...

Author: /time Magazine | Title: Miscellany, Dec. 20, 1943 | 12/20/1943 | See Source »

From the Restoration to the middle of the nineteenth century, technical advances and an increasing mass audience led slowly toward realistic presentation. Then the gifted Irishman Dion Bouccicault came to this country and put the first real door in a flat, and the first real rug on the floor, to the amazement of both company and audience, and started preaching the jehad of Realism. His ideal was to show everything on the stage, to leave nothing to the imagination. His disciple was David Belasco, who gave tremendous impetus to the movement and at one time put a complete Child...

Author: By William E. Robinson, | Title: FROM THE PIT | 10/22/1942 | See Source »

...Neill has tried to show, through the character of Dion Anthony, man's search for faith in a world where there is nothing in which to believe, where Christianity is dead. Dion, the creative artist, "pleads weakly for intense belief in anything." Billy Brown, on the other hand, is the symbol of what has replaced Christianity: a "visionless demi-god of our new materialistic myth--a Success." It is the mystery in these two "conflicting tides in the soul of man" that O'Neill wants to convey...

Author: NO WRITER ATTRIBUTED | Title: PLAYGOER | 4/24/1941 | See Source »

Last night's production overemphasized the abstractions of plot and dialogue, thus throwing out of proportion the living drama of the actual characters, Dion, Brown, Margaret and Cybel. The body movements and pitch of voice in the characterizations of Dion Anthony, by Roger Henselman '42, and Billy Brown, by Richard Wiechmann '43, were exaggerated into such abstraction that the play as a whole did not build, throughout the too-long four acts, to any convincing climax...

Author: NO WRITER ATTRIBUTED | Title: PLAYGOER | 4/24/1941 | See Source »

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