Word: joans
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Dates: during 1950-1959
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...First Joan. From histrionic heaven she was sent straight to scholastic hell: a better-class boarding school in New England. "It was all girls." Next fall she persuaded her family to send her to Miss Hewitt's Classes in Manhattan, where she took Broadway for her major subject. For the drama class she played Shaw's Saint Joan, and was offered a Broadway job as an understudy, but her parents said she was too young (18) to quit school...
...could such a contradiction of qualities be brought together in one presence on the stage? Julie found the answer in a remarkable statue of Joan by an unknown medieval sculptor -"the figure of a sturdy, stocky girl," as Director Joseph Anthony describes it, "with thick hands, almost like a man's, laid together heavily in prayer. Her head is slightly raised -but demanding, not beseeching, God to hear. Her shoulders are hunched in heavy, earthbound determination. She has a natural concentration, like an animal's. Eye and body and brain are united without strain in simple existence...
...Great Mountain. To Julie, this was Joan; but to Anouilh, Joan was "the lark" -a spirit of "unbodied joy" that sings down out of unseen height upon the desperate world and lifts the human heart up to its hope. Julie set grimly to work, 15 hours a day, to reconcile these opposites in her performance. At the first run-through she had such power that a critical audience of theatrical professionals was sobbing unashamedly at the final line. At the Boston opening the critics cried "tremendous," but one of them fairly noted that she was sometimes "a little childish." Under...
...Quality of Radiance. No matter how hard she tried, Julie could not make her Joan as good as she wanted it to be -or, indeed, as good as most of the critics said it was. It said nothing particularly new about human life; but it did say new and vital things about Julie Harris and about her warm young...
Maurice de Sully was a practical dreamer with a vision almost as striking as that of another French provincial, Joan of Arc. Though his chiefs of staff were two unknown master builders, the grand design of Notre-Dame as it stands today was largely his. He raised the money (the cathedral eventually cost the 1955 equivalent of $100 million); he met the payroll and disciplined the work force (some 1,000 masons, metal smiths, carpenters, etc.); he personally selected leading artists and chose the subjects of the complex iconography. And he took fresh architectural gambles. The ceiling of Notre-Dame...