Word: idea
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Dates: during 1960-1969
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...nation finds it easy to accept the idea that it owes most of what it has, including its continued existence, to the fighting men of another nation, particularly when those men often show hostility rather than sympathy. G.I.s in the field frequently find it impossible to distinguish between "bad" and "good" Vietnamese; as a result, they often callously mistreat all of them. Few American soldiers are in Viet Nam because they want to be, and many take out their resentments on their not-so-friendly hosts. "They're all gooks," says a sergeant at Tay Ninh, using the derogatory...
...York-based Environmental Defense Fund, organized in 1967 by Mrs. Yannacone's lawyer husband, Victor. Suing on behalf of all Americans, E.D.F. brings in expert witnesses, mainly scientists, to testify about environmental dangers, such as hard pesticides like DDT. The cases are always based on the idea that the public has the right to a healthy environment...
...applied science, but the latter would not be possible without the former. Artaud was an unsuccessful French actor who died insane in 1948. He was also a visionary and a prophet with a dream of what theater might be. In poetic though sometimes muzzy language, he coined the idea of "a theater of cruelty." To interpret the phrase solely by conventional usage is to miss a great deal of what Artaud meant by it. For example, he wrote, "Everything that acts is a cruelty," and "Cruelty is rigor...
...away everything that he regards as the excess baggage of drama -makeup, props, lighting effects, music, scenery, a conventional stage. He even strips away a good part of the audience, never allowing it to number over 100 and sometimes as low as 40. He also has a very precise idea about what that audience should be like: "We do not cater to the man who goes to the theater to satisfy a social need for contact with culture: in other words, to have something to talk about to his friends and to be able to say that he has seen...
...environment." Nonetheless, aside from the majestic scale, the frequent emptiness and the su-persimple icons of the past three decades, there is a lesson to be learned from the Met's show. It is that American artists have persistently practiced a kind of aesthetic brinkmanship in taking an idea to its logical, if sometimes totally irrational conclusion. As a result, their art achieved more than occasional grandeur. It was exciting even when it failed, providing a tradition that invites any young artist to try absolutely anything. Whether that is a good thing will not be clear until...