Word: follower
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Dates: during 1960-1969
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...Brecht wanted to slap an audience into intellectual awareness so that it would correct the evils of the age, Artaud wanted to gore it into a blood-dripping emotional awareness of the anguish of the age; Among those who have most notably tried to follow Artaud's precepts in the modern theater are Julian Beck and Judith Malina's Living Theater, British Director Peter Brook (Marat/ Sade) and Director Jerzy Gro-towski with his Polish Laboratory Theater. The Living Theater is sloppy, Brook is marvelously disciplined but a trifle too cerebral, and Grotowski combines fantastic discipline with lacerating...
...homosexuality is the private business of the individual rather than a subject for public regulation"; prohibition of "the crime against nature," as many statute books coyly phrase it, merely raises the homosexual's vulnerability to blackmail and "exacerbates" his mental-health problems. The commission recommends that the U.S. follow the example of England, which two years ago legalized homosexual acts between consenting adults in private -as recommended by the celebrated Wolfenden report-and has suffered no discernible ill effects. The U.S., along with the Soviet Union, is one of the few countries in the world that have such strict...
...wagon is a square with four wheels. In Paint Your Wagon the wheels are Lee Marvin, Clint Eastwood, Jean Seberg and Harve Presnell. The square is Film Maker Joshua Logan, a successful stage director whose ponderous film adaptations (South Pacific, Fanny, Camelot) follow him like a string of mules...
...begins. Moratorium leaders can see their constituency slipping away from them on both the left and right flanks. The first indications of the Moratorium leaders' concern came Saturday when the Boston Globe reported that Moratorium leaders were shaving away from the November 15 March on Washington. More trouble will follow when Nixon makes his major Vietnam address November third...
...film as a whole. It doesn't treat the film's overall style, the way it relates all the characters to their setting. It treats character descripton only in one aspect: the characters relation to a plot scheme which consists of a series of personal transformations. For viewers who follow characters' changes very closely through a film, such an analysis is useful, though still incomplete. For those like me who react to characters intuitively, immediately, and once for all, only a more general analysis of character delincation explains feelings about the characters. One experiences Veytigo not as the series...