Word: freudianly
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...characters in Mozart's operas, believing that they "deserve the serious and searching affection-passion, even -we give to Shakespeare's, because they are total human creations." She regards this as no mean feat in the Age of Enlightenment (plainly a very dark age to Freudian Brophy), when erotic fantasy and intuitive humanity were exorcised from one Voltairean hero after another. But Mozart was a composer rather than a writer, thus suffered less harassment from the wild-eyed rationalists around him; after all, music was not to be taken seriously...
Only two scheduled shows are not based on anybody's biography, novel, play, magazine piece, film or war. In I Had a Ball, Buddy Hackett will play a Freudian fortune teller on Coney Island. Clairvoyance looms large in the other original, the long-awaited Alan Jay Lerner-Burton Lane collaboration, On a Clear Day You Can See Forever. Barbara Harris, who was the sensation of Oh Dad, Poor Dad . . ., plays a girl with extrasensory perception...
Everything, that is, but emotional maturity. Mother was part of his problem. The wife of a housemaster at Rugby, she was a proper, pre-Freudian Victorian to the last glove button. Young Rupert, who arrived after his mother had lost a daughter in infancy, was often told that she had terribly hoped he would be a girl...
Golden Girl. Another hidebound type is Britain's strapping Honor Blackman, 37, who became celebrated for the array of leather suits, jackets, trench coats and boots that she sported in a Freudian private-eye TV series called The Avengers. As a result, so many women demanded leather garments in Britain that the price of shoes went up. Honor plays Pussy Galore, the leather-sheathed leader of an Amazonian flying circus, in Goldfinger, the new James Bond thriller. Another face from Britain in Goldfinger belongs to Shirley Eaton, 27, blonde alumna of endless Carry On . . . comedies. No leather for Shirley...
David Wheeler, who directed both productions, has wisely treated Albee's script as lightly as he can. He has ignored as much as possible the overly-Freudian and rather tedious general indictment of the family and emphasized the destructively funny--and best--portions of the play. He seems to have lavished particular care on the many short caricatures of individual features of American family life, a fact which goes a long way toward explaining the success of the present production...