Word: leafã
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Like Steinberg’s only other work of fiction, “As a Driven Leaf??—in which he constructs a life for Elisha ben Abuyah, the Talmud’s own sage and heretic, out of short Talmudic stories about him and some healthy creative license—“The Prophet’s Wife” uses an intriguing traditional character as the starting point for a meditation on the religious experience. For the protagonist of “As a Driven Leaf,” the conundrum is whether...
Equally innovative is the 1968 film “Sand, or Peter and the Wolf” by filmmaker Caroline J. Leaf ’68. Leaf??s work is one of the earliest and best examples of the use of sand in animation, as she creates an ethereal, shapeshifting set of grainy black and white characters. Though its graphics appear rudimentary to today’s eye, Leaf??s film remains visually captivating. Leaf constantly recreates her characters’ forms, faces, and even species; in one scene, a wolf eats a bird that later...
...this production had served as a commentary on the Cold War; Marat was used as an allegory for East Berlin, Sade as an allegory for the West. This particular interpretation, which pitted one titular character against the other, possesses little contemporary relevance in Leaf??s play, which lays its emphasis more on the relationship and similarities between the two characters, rather than on their opposition...
...first time with this show, the botanists worked with me to figure out the names of all the plants,” Means added. The exhibition features leaves of differing types and conditions, some with several tears and cracks. Means said that this allows viewers to see a leaf??s life cycle at different points, showing science in an artistic fashion. “It’s really important to me that I’m not just using perfect leaves,” she said. “I’m interested in getting people...
Shahriyar must have felt it, too, because he quickly heads off to travel the world with his vizier Qamar (Aseem A. Shukla ’11). Shukla’s perfomance was the perfect foil to Leaf??s nervy, wild-eyed flights of philosophical longing. As Shahriyar desperately hovered “between the earth and the heavens,” Qamar stayed rooted firmly to the ground...