Word: dramas
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Dates: during 1960-1969
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...visual style of Rappaccini thus synthesizes personal emotions, personal development, plot, and thematic development into a single drama. It's the perfect way to put Hawthorne's romance into film. This type of romance, designed to describe personal development through emotional (above all, love) experience, requires its characters' sentiments to seem real and strong so that their actions will feel sufficiently motivated. Edelstein establishes the objectivity, indeed the rule, of his characters' emotional experience. Their actions are completely determined by their emotions, and since these emotions form the world of his film, the entire drama proceeds with a chilling inevitability...
...fact, it makes you nostalgic for the good old days altogether. Much too much theatre is becoming intellectualized drama and philosophical questioning. Pure theatre, a sparkling, whirlwind experience that means little off the stager, is as wonderful--and as needed--as Spring vacation
...Pasternak's purpose was nothing less than "a religious, popular, social interpretation of the history of Russia, this 'Blind Beauty.'" Pasternak completed The Blind Beauty before his death nine years ago and left notes for the second play, but never got around to outlining the final drama, so far as is known. Blind Beauty itself was, in fact, believed lost, the only copies having been seized by the secret police. How a copy survived and reached the West is unknown. A sensational melodrama, set in the 1840s, the work bristles with bandits and bursts of gunfire...
...year Hollywood stint brought him three Oscars and a six-year term (1949-55) as president of the Academy of Motion Picture Arts and Sciences; of a stroke; in Bel Air, Calif. Brackett began writing short stories for the Saturday Evening Post, soon switched to The New Yorker as drama critic. Next stop was Hollywood in 1932, where he and Billy Wilder collaborated on 15 pictures, including Academy Award winners The Lost Weekend (1945) and Sunset Boulevard (1950). Brackett's final Oscar was for his Titanic (1953) screenplay, which captured all the heroism and much of the horror...
...verbal talent still in play diverted to scoring of debater's points, and the participants--persons deserving at least of interest, if not of affection--making themselves generally intolerable. I was, of course, merely imprisoned in that bituminous vacancy which men call the Experimental Theatre of the Loeb Drama Center, sharing space with some remarkably brave young actors...