Word: laws
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Dates: during 1970-1979
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Laurence H. Tribe '62, professor of Law and one of the Harvard signatories, said, "I think it's important to express my sense that academic freedom has been violated, particularly since I consider myself something of a friend of President Silber. I didn't think friendship should stand...
...through all with a rippling laugh and a twinkling gaiety. This, in contrast to other weaker characters who have not her resilience. Her physician, forced by post-war stresses into drug addiction, is one example of a character who falls by the wayside. Anothers is Willi, her brother-in-law who dissipates into a broken alcoholic. Unlike them, Maria manages to keep going. In a crazy, loyal way, she keeps visiting Herman in mail, pressing upon him money, speaking fondly of the day when he will be freed...
Caucasian Chalk Circle, currently being produced by the Harvard Law School Drama Society, boldy pits the bourgeois authority--manifested in the persons of the governor of a Caucasian Village and his wife--against the simple stolidity of the proletariat, in the person of Grusha, their servant girl. The backdrop is the bloody imbroglio of civil war. Grusha, simply and sincerely portrayed by Brooke Stark, retrieves the governor's child. Michael, who has been left behind in the frenzied exodus from the Village. She protects the baby throughout the conflict, risking her personal safety as well as her love...
...CAST, although generally competent, particularly warms to their roles during the last scene, which-appropriately enough for a law school audience--takes place in a courtroom. From an epic style in the earlier portion of the play. Brecht shifts nimbly to parable. Grusha must contend with the haughty mother over who will gain possession of the child. Azdak, the magistrate-rogue, played with animation by David Miller, gives the "chalk-circle test." Grusha lets go of Michael because she doesn't want to hurt him "I brought him up! Should I tear him apart...
...law school performance follows Brecht's script faithfully, but does not venture into new or experimental theatrical terrain. The result is a bit spare, even stingy. In a major omission, Seoh leaves out the celebratory dance at the end of the play, perhaps because of the limited size of the auditorium. Such a formalistic rendering of the play shortchanges the audience...