Word: dramas
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Dates: during 1960-1969
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...Adams House Drama Society production of Hamlet "takes a line" too, but it's really an anti-line. The director, Poc de Grazia, wants to let all the characters come across as they are, not as Hamlet interprets them in his own head. This is fortunate because de Grazia also plays Hamlet, which might have otherwise led to a one-dimensional ego-trip production. There is thus no undirectional theme with all the characters a collective midwife to some zinging, overwhelming closing statement. Rather, the portrayals are loose and disjunct, and that serves finally to heighten the senselessness...
...doing better, John Lahr, his son and biographer, has endeavored to display the man by somewhat disjointedly laying out the surface facets of his personality, much as a dresser might have laid out Lahr's costume changes. In dealing with his father young Lahr, who is a drama critic (Evergreen Review), manages to seem both revealingly intimate and inconclusive in his analysis, suggesting that the real man was unknowable or perhaps not there...
...mania," and plunges back into the wilderness-America's Garden of Eden-to retell a primal myth. In a sequel of seven comparatively short poems, he takes Naturalist and Bird Painter John James Audubon as a kind of frontier Adam, sketching in his 19th century life as a drama of innocence, guilt and final redemption...
Despite the drama in the announcement, and the undoubted importance of the issues involved, the coming review will lack most of the customary trappings of major policy re-examinations at Harvard. There'll be no blue-ribbon committee headed by a nationally-known Faculty member supervising the work, and perhaps not even a nicely bound report published by the Harvard University Press. Rather, the College will take stock of these educational issues in a series of meetings in the Houses, each of which will produce proposals of greater or lesser quality, which will then somehow come before the Faculty, either...
...such terror we recognize the power of each simple detail, the seriousness of all the beautiful things happening before our eyes. Sorrows is no sweet moralistic drama. The moral unity it maintains is the most complex of artistic attitudes. Satan, for example, is no villain. Indeed, Griffith discarded villains after America (1924). The men who rob the hero and heroine of Isn't Life Wonderful are driven to their crime by hunger and, like the two leads, by marital love. They are as human, as noble, as anyone else. Satan goes through more intense emotional crises even than the deserted...