Word: feelings
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...professor’s unusual approach to lecturing immediately immerses his students in the milieu of the novel through short, funny excerpts, but more importantly it gives students permission to enjoy reading a book. Many students, who often feel afraid to laugh while reading, find his method liberating. Yet, initially I was more annoyed than charmed by these recitations. I felt these comic details contributed very little to the analytical understanding of a novel; the excerpts gave a sense of a writer’s prose style, but ultimately they were nothing more than amusing diversions to give the class...
...Composition Competition Winner “Nightclub Scenes for Solo Piano and Orchestra,” by Zachary T. Sheets ’13. Though “Nightclub Scenes” fit nicely with the modern sound of Prokofiev and Poulenc, there was a distinctively jazzy, almost sultry feel to Sheets’s composition. Written as “a classically inspired piece with a sense of harmony rooted in jazz,” Sheets delegated the roles of the jazz band’s walking bass, tenor saxophone, and trumpet to the cello, viola, and violin, respectively...
...show’s own theatricality, thereby distancing the audience and forcing them to separate their emotions from the action onstage in order to realize an important truth. Meanwhile, Jobs would persistently add more and more technology to the play, to no rational end. This is the feel of director Daniel Fish’s “Paradise Lost,” which runs through March 20: a muddled, pretentious mixture of inexplicable technology, estranging effects, and bizarre sermonizing that overshadows the fine actors and even the story itself...
Actors almost never connect or collaborate as they recite lines; instead, they always seem to be yelling across the stage at one another from atop these purposely unfinished set pieces. Their placement makes them feel even more removed from the audience. Consequently, emotional peaks in the script fall flat. Fish certainly seems more focused on his concept than the story itself...
Smith’s one scene as crooked Mr. May is the only instance of a rewarding use of video in the play. Finally, the video’s detached feel makes thematic sense when projecting May’s image—in negative—as he speaks. His black-and-white face effectively reflects both Smith’s doubled role and May’s unfeeling nature...