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Word: everymanic (lookup in dictionary) (lookup stats)
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...touch like a wall of sol id tinfoil...! remember having to crawl towards a sort of round point where the tunnel ended; when I finally arrived, if I did, I had forgotten all about the dog, Don Juan, and myself." Perhaps most important, Castaneda remained throughout a rationalist Everyman. His one resource was questions: a persistent, often fumbling effort to keep a Socratic dialogue going with Don Juan...

Author: /time Magazine | Title: Don Juan and the Sorcerer's Apprentice | 3/5/1973 | See Source »

...series of such miniature combats, of ironies and outrages made acute because they are so palpably possible. Di Noi is too self-effacing for an Everyman, too funny for a Job. He is only ordinary, but through Sordi and Loy he is remarkably and indelibly...

Author: /time Magazine | Title: Cinema: Rhetorical Question | 12/11/1972 | See Source »

...critical commonplace that Godot is a kind of abstract, modern Everyman, or Well-theater. In director Bobbi Ausubel's stagey production, the mechanics of living life are identified with those of putting on a play. Characters know just where they are: they wave away a too bright spotlight, carry around the portable tree, and once or twice stop out into the audience to make a comment like "I've been better entertained." The scene is the stage itself: the props represent little more than props. Like the characters, we are given very little information to go on. Getting...

Author: By Pill Patton, | Title: Mating Them Up For Godot | 12/1/1972 | See Source »

...choruses, shaking their amulets, mandalas and animal skins, are less out of Sophocles than The Golden Bough. When Oedipus (Len Cariou) makes his entrance, emerging from the palace portals as if they formed a monstrous womb, he is less the king of a Greek city-state than an archetypal Everyman in a loincloth...

Author: /time Magazine | Title: The Theater: Bleeding Life | 11/13/1972 | See Source »

Arbus' vision was exactly opposite to the flabby Family of Man attitude that still governs most photographic responses to the human animal. Everyman is a poor subject. There is compromise in the very act of shooting a person as if he or she were "really the same as me"; it means a flattening of human experience, a generality that amounts to well-meant condescension. In brief, it is sentiment. In her passion for "not evading facts, not evading what it really looks like," Diane Arbus became perhaps the least sentimental photographer who ever caught a face in the view...

Author: /time Magazine | Title: Art: To Hades with Lens | 11/13/1972 | See Source »

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