Word: keaton
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Dates: during 1970-1979
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...Martha Graham School of Contemporary Dance in Manhattan recently enrolled two new pupils: Woody Allen and his Sleeper co-star Diane Keaton. So far, they have attended a couple of 90-minute sessions where, according to Diane, "there's a lot of floor work and exercises, then for the last half hour we skip and leap." The Graham staff's powers are being fully tested by Woody, who in a preliminary workout had trouble lining up his knees for a simple "stand-up-straight" exercise. With becoming bashfulness, Woody refuses to boast about his latest achievement. His spokesman...
...style. The nimblest of all is Dale, a versatile actor, British TV comic and composer (Georgy Girl). In his facial contortions and his airborne, aisle-hopping feats, he is a direct descendant of the great physical clowns-unforgettables like Bobby Clark, Bert Lahr, Harold Lloyd, W.C. Fields and Buster Keaton. It does not require much prophetic vision to foresee that Jim Dale will share the same renown some day. · T.E-K...
...soon discovered from talking with many people who visited me backstage that this was only because most of them had been unfamiliar with the term. What they had not realized was that here in America they had seen some of the greatest pantomimists of the century--Charles Chaplin, Buster Keaton, Harry Langdon, Stan Laurel, Oliver Hardy...those superb artists who created in the silent movie era, without benefit of the spoken word, a whole world of human prototypes in humorous, pathetic, tragic or hilarious situations in life--with which their audiences identified themselves...
...misadventures with everything from butterflies to untameable lions to dance-hall girls, in white-face, wearing a striped pullover and culotte, and a worse-for-wear opera hat topped with a red flower. But basically he and the Little Tramp--like the great Jean-Louis Barrault's Baptiste, and Keaton's Sailor and Laurel's Sad One--are blood brothers...
Brought up on the greatest artists of the silent screen--Charlie Chaplin, Buster Keaton, and Harry Langdon--Marcel Marceau was enchanted at an early age by the challenge of imitating the animate as well as the inanimate. He calls Chaplin his greatest inspiration: "To be capable of expressing a wealth of emotion in one look, one gesture, to be able to interpret the slightest nuance of the soul--was not that a prodigious ambition...