Word: gide
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...approach to the Cantata might be made by way of Gide's aphorism (which Stravinsky quotes in his Poetics of Music) that the beauty of classical works is made evident only by virtue of their subjugated romanticism. One must constantly look for those moments which bring to brief light that underlying level of passion and intensity in the music which is continually evinced on the surface by the texts themselves. The diversity of these texts (all late-Medieval English lyrics) pose another challenge for the listener. "Contrast is everywhere," Stravinsky has written, "Similarity is hidden . . . and is found only after...
...probably the best known of the four--is a novelist, literary critic, and teacher or writer on modern English. His writings include "The Past Must Alter," "The Hunted," "Maquisar," and "Night Journey." He is also the author of critical works on Robert Bridges, Joseph Conrad, Thomas Hardy, and Andre Gide. A graduate of Stanford, he received his Ph.D. there, and joined the University faculty...
...Immoralist (adapted by Ruth & Augustus Goetz from Andre Gide's novel) is perhaps the most outspoken treatment of homosexuality that Broadway has seen. Very likely it is also the most serious and dignified. Though treating nothing prissily with kid gloves, Playwrights Goetz treat everything clinically with rubber ones. Unlike Gide's spiritually autobiographical novel, the play is less the study of a man than the story of a marriage...
...forthright yet emotionless nature of the telling are somewhat at odds with the genius of the theater. There is a little the air of a case history, yet without quite enough documentation, let alone drama. The play is accurate and revealing, but only in the way a blueprint is. Gide's novel, though not very creative, is much less explicit and more complex; in the play every character-corrupt Biskran houseboy, self-accepting homosexual shepherd-articulates a philosophy, is "placed" in the moral landscape. Everything is formulated rather than expressed...
...Billy Rose returns to producing with a brace of French plays: the musical, Orpheus in the Underworld, based on Jacques Offenbach's score and with a new book by Ben Hecht (see Music) ; and a dramatization of André Gide's The Immoralist, starring Geraldine Page and directed by Herman Shumlin. Other French entries: The Strong Are Lonely, with Victor Francen and Margaret Webster; and a Louis Kronenberger adaptation of Jean Anouilh's bitter Colombe, a starring vehicle for talented Julie Harris...