Word: dramatists
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...altogether with the unattainable: total honesty, innocence, understanding, peace and, in the same breath, revolution. Protesters who stop traffic or disrupt the work of a draft board by taking off their clothes use nudity as a kind of nonviolent Luddism. But artistically undressing is too easy. If a dramatist can substitute a mute nude for the interplay of character and situation, he will be tempted to do so and in all likelihood be handsomely rewarded for succumbing. Nonetheless, nakedness is not a statement but a condition...
...Milk Train Doesn't Stop Here Anymore, his work has become increasingly infirm - so gravely so that In the Bar of a Tokyo Hotel seems more deserving of a coroner's report than a review. Nonetheless, trust in the eventual recovery of America's greatest living dramatist must be retained, even if it resembles St. Paul's definition of faith: "The substance of things hoped for, the evidence of things not seen...
...Moliere, the most serious writer of comedy who ever lived, took just such a blind mole and made him the mock hero of The Miser. Harpagon (Robert Symonds) has a singular obsession-money. Like most obsessions, it is not magnificent but malignant. It allows the great 17th century French dramatist to make a central moral point-that a sin is called deadly because it deadens. Harpagon is blind to his children's hope of love, blind to his servants' grievances, and hopelessly blind to any generous stirrings of mind or heart...
...penultimate Saturday Evening Post and another on Spiro Agnew in Esquire. Both articles will be part of his forthcoming book, Nixon Agonistes, which he works on when he is not writing his book on Sophocles or teaching his graduate-school seminar at Johns Hopkins on the Greek dramatist. Just who does Wills think he is? "I'm a classicist who wants to write journalism," he says. "I see nothing odd about that. I didn't intend to go into journalism until the Classics department said either stop moonlighting or lose your tenure...
Nietzsche and Freud. Both the design and the direction sought to emphasize one of Ponelle's major beliefs about Verdi: that he was just as much a psychological music dramatist as Wagner. "Verdi felt and anticipated a great deal of what was later expressed by Nietzsche and Freud," he says. "In Don Carlos, King Philip is a man burdened beyond endurance with the responsibility of preserving an empire doomed to crumble, a man trembling at the possibility that the hand of God is hidden in the Inquisition. Carlos is a neurotic suffering from a clearly delineated Oedipus complex...