Word: ideas
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Dates: during 1990-1999
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This movement should not just be happening because Harvard administrators are usurping the power held successfully by students in the past, but because finally, students have come together with a communal idea in mind. It is an idea which has nothing to do with themselves, their academics, their ability to have alcohol in their rooms for a party, but with a community which is so concentrated in Cambridge and in the United States. Students have begun to ask questions, the first step to finding answers to problems at large...
...Benjamin '99, who will be writing scenes of the script with a small group of first-years, said he thinks the idea is fantastic. "Shakespeare is something a lot of Harvard students can relate to and have had exposure to, so literary allusions will be familiar to most of the audience," he said...
...World-Wide Concurrent Premieres and Commissioning Fund to which saxophonists around the world pay a fee for the right to premiere the work in their local area. Thus the work, which was performed Sunday night in dozens of cities, is guaranteed at least fifty performances; the idea is to avoid the fate of most commissions, which are performed once and then forgotten; the idea is to avoid the fate of most commissions, which are performed once and then forgotten...
Daniels successfully conveys the wonder and strangeness of the "brave new world" so crucial to any production of "The Tempest." He does this by appealing to his contemporary audience's idea of the exotic, as well as to a modern conception of "the other." In the middle of the scenery sits an imposing but unidentified concrete structure. The magician Prospero is dressed not like a sorcerer but instead as an African medicine man. And the music incorporates elements of rap and opera. "Ultimately," says Daniels, "I want to see how one comes to understand the experience of 'the other...
...what is both lost and gained in exile." The mystery and magic of the production's visual and aural effects create this feeling of exile. But for many people Prospero's renunciation of his magic represents Shakespeare giving up writing in this his final play. Paul Freeman evokes this idea in a powerful performance of Prospero's monologues: After recalling with both enthusiasm and nostalgia what his "so potent art" had once done, he says regretfully. "But this rough magic I here abjure...