Word: directors
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Dates: during 1960-1969
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There is a fifty-fifty chance, says Futurist Herman Kahn, director of the Hudson Institute, that working hours will be markedly shorter. Eventually, the American employee will have the option of deciding whether he wants his increased income in money or in greater leisure time. The goal of most Americans will be self-fulfillment rather than self-sacrifice. In everything, the emphasis will be on experimentation. "The idea of redesigning a way of life is going to be the dominant theme of the '70s," says Behaviorist B. F. Skinner. Young people will continue to fear large institutions, he believes...
...assemblagist who produces gaudy conglomerations out of the found objects that he squirrels away against the day when he may need them. By now he has accumulated hundreds of hat blocks at his East Hampton studio, has used scores in his sculptures. Blocks have also long fascinated Arne Ekstrom, director of the Cordier & Ekstrom gallery. When he got the notion of supplying various artists with a block of their choice to see what they could produce, he asked to use Ossorio's collection as a source of supply...
...basic premise from which this radically new Hedda has sprung is simply stated in the program notes by Ted van Griethuysen, who directed the play and is also the company's artistic director: "Hedda Gabler is a good person." The premise itself is highly debatable. Is Falstaff a good person? Are Ivanov and Amanda Wingfield good persons? As soon as a great playwright has performed an in-depth analysis and portrayal of a character, that character transcends the confining categories of good and evil. Such a character then becomes rich, opaque, fascinating, and strangely elusive of definition-in precisely...
...three-year low. The Consumer Confidence Index, measured by the highly regarded University of Michigan Research Center, has plummeted from 95 in January to 79.7 now. President Nixon's economic policymakers recognize the signs of danger. "We are now at a critical period of economic events," says Budget Director Robert Mayo. "The economy is in a state of delicate balance...
Devoid of motivation and imprisoned in the dance hall, the movie hungers for some message from the outside world. The contestants are soon reduced to figures without a landscape, whose despair is often expressed but seldom reasoned. Even Director Sydney Pollack seems to sense the claustrophobic atmosphere-and he restively punctuates the nonhappenings with slow-motion scenes and rapid flash-forwards. Seldom effective and much too mannered, they serve only to bring the wrong kind of poverty to the project...