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Word: dramatist (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

...deserves much of the credit for the success of this show. The Physicist is immensely difficult to produce successfully, because Duerrenmatt clearly wants it to be an educational, as well as a theatrical experience, a any good post-Brechtian European playwright would. But he, like Brecht, is a natural dramatist; you automatically empathize with these wacky . So Duerrenmatt could hardly accept idea that an audience must be made to detach itself from the play completely -- forced not to empathize with the characters, but only to think about them...

Author: By Donald E. Graham, | Title: The Physicists | 8/2/1965 | See Source »

TAKEN CARE OF, by Edith Sitwell. Memoirs completed shortly before Dame Edith's death last year that shed harsh new light on a gifted metaphysical poet and a self-dramatist who acted out endless roles for herself with astounding audacity and imagination...

Author: /time Magazine | Title: Television: May 28, 1965 | 5/28/1965 | See Source »

...generalized guilt becomes real only in what is now the largest of dramatic commonplaces, the mass murders of Nazi Germany. Quentin's prolix introspection provides only relaxation before the next rise of tension, the scenes that are the play's reality. As such, After the Fall is a dramatist's tour de force, but not a live play...

Author: By Gregory P. Pressman, | Title: After the Fall | 5/19/1965 | See Source »

Rubek speaks for a disillusioned Ibsen. The occasional awkwardness of When We Dead Awaken and the bitterness of its themes have a common source. Its anguish is the pessimism of a 71-year-old dramatist who would never compose another Master-Builder or Hedda Gabler. When We Dead Awaken is not a fitting conclusion to Ibsen's career. Especially in the third act, set on a mountain peak, Ibsen resorts to artificial contrivances that are not characteristic...

Author: By Eugene E. Leach, | Title: When We Dead Awaken | 3/2/1965 | See Source »

...easiest and most profitable to sell. Perhaps the dealers deserve at least part of his criticism. But his idea that considering paintings in terms of dollars and cents is both a special product and a leading cause of contemporary art falls flat. He overestimates his forebears. When an Italian dramatist named Guiseppe Giacosa visited the United States in 1898, he proclaimed that "the primative measurement of works of art in terms of dollars and cents in the United States leaves me with a sense of disgust. I remember a visit to the home of a very rich collector of pictures...

Author: By Daniel J. Chasan, | Title: Hartford's "Art or Anarchy?" | 12/17/1964 | See Source »

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