Word: directorate
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Dates: during 1960-1969
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N.A.A.C.P. Executive Director Roy Wilkins said that the board was shocked by both "the tone and the substance" of Steel's assertions. "By belittling the decisions of the court," said Wilkins, "and especially by classifying past civil rights victories as symbolic rather than substantive, he cast aspersions on all previous legal efforts in civil rights cases...
...felt about things") and ingenious about rigging a staircase for children to climb up on the examining table by themselves ("The kids loved it"). But Michael feels that the main thrust for his career came from his own youthful enthusiasm for art and science museums. When he became director of his museum six years ago, he staged the kind of exhibit that would have' fascinated him as a boy. Called "What's Inside," it featured a cross section of a city street. Children entered through a sewer pipe, hunched past a maze of utility lines, climbed out through...
...theater, Peter Brook is more of a general than a visionary. A brainy and restless director, he rules his actors like a task-force commander, dispatching them on missions of dramatic exploration-most notably in his production of Marat / Sade. In a new book, The Empty Space, Brook displays himself as a man in the ironic position of being grafted to the theater while finding most of it lifeless. Based on a series of four lectures that he delivered to English university students, the book is divided into four sections: "The Deadly Theater," "The Holy Theater," "The Rough Theater...
...Asking to Be God. In his closing section on "the immediate theater," Brook deals mostly with his own work. Immediate theater is uniquely a director's medium. "It is a strange role, that of the director," writes Brook. "He does not ask to be God, and yet his role implies it. He wants to be fallible, and yet an instinctive conspiracy of the actors is to make him the arbiter, because an arbiter is so desperately wanted all the time. In a sense the director is always an impostor, a guide at night who does not know the territory...
...territory and the route are the play, they are not always dark and unknown. A great play is flooded by its author with inner light, and it is usually some jaded director who drags the drama off on some footless side path and leaves it mired and mangled. The text is not sacred Mosaic law, but it is more than a pretext for whimsical directorial pranks. Peter Brook is not that kind of man. He looks before he makes his exciting leaps. He wants a theater of passion and directs his plays to that end. At his best...