Word: joans
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Dates: during 1950-1959
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...issue of TIME closed, our editorial staff discovered it had some lovely reasons for an impromptu party: three orchid-decked researchers ablush and abeam with plans for marriage. Education's Marjorie Burns will be married to Research Physicist A. Bruce Brown Jr. on Oct. 19, Art's Joan Dye to Artist Alan Gussow on Oct. 21, and Foreign News's Monica von Swogetinsky to Lawyer Dudley Devine in December or January. Cheers and best wishes...
Abroad, the parade back to lithography was started by Picasso himself, who in 1945 became fascinated with the out-of-mode art form, was soon joined by a host of modern masters-Georges Braque, Fernand Leger, Joan Miro et al. In the U.S. lithography, which was revived as an art form under the WPA, also began its boom soon after World War II. Today in Manhattan The Contemporaries Graphic Art Center has in constant use most of the 90-odd lithographic stones it rounded up from old commercial houses Which since the turn of the century have shifted to zinc...
Such undeflectable purpose, such one-track-mindlessness can have its acting limitations; and Actress McKenna plays with no great range and with a kind of fierce monotony. But by subordinating effect to essence, what Joan does to what Joan is, she makes an audience feel itself in close contact with someone, however rare, who is in close communication with something, however intangible...
This is a real achievement, because-though to say so may be a worse heresy than anything Joan was tried for-as a dramatic creation, Shaw's character in large measure fails. As a dialectical creation, his Joan is superb, just as the massively symbolic, impartially delineated conflict between Joan and the church, the sovereign self and the sovereign institution, inner light and outer law. is magnificently projected. But Shaw did not solve his problem of making Joan personally real by making her slangily realistic and outwardly much like other people. Her reality lay in how she differed from...
Very possibly Shaw's finest play, Saint Joan is yet one of his most uneven. The first third is little more than competent chronicle play; it is not till the second third that it becomes vibrantly Shavian; and not till the final third that it grows demonstrably great. At the Phoenix a generally torpid production stressed the play's long, slow climb before achieving-in the Trial Scene and the Epilogue-one of the great peaks of 20th century stage writing...