Word: likeness
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Dates: during 1960-1969
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...Cher Antoine is a masterpiece," cheered France Soir. "A complete masterpiece, profound, sparkling, subtle, naive, poetic, comic, full of resonance." Wrote Le Figaro: "Anyone who doesn't like this piece knows nothing about human beings, has no love for the theater, can't recognize an author of talent and lacks a sense of humor...
Christo Javacheff is a peripatetic Bulgarian whose art consists of wrapping things-big things. He has previously wrapped the Kunsthalle in Bern, a fountain in Spoleto and the Chicago Museum of Contemporary Art. For Christmas, he would like to wrap all the trees on the Champs Elysées, Paris permitting. Australia, however, can claim the distinction of having the first natural landscape to be wrapped...
Splendid Miracle. Little is known of Meister Francke's life. He is believed to have been a Dominican friar who came from the Geldern region of The Netherlands and studied or worked in Paris or Burgundy before settling in Hamburg. Probably he spent his life in monkish seclusion (like his contemporary Fra Angelico in Italy), painting for the glory of God and the benefit of his order while the fame of his brush spread throughout the Hanseatic trading towns of Eastern Europe to the farthest reaches of the Baltic. Commissions came in to his monastery from as far away...
...audience of today, these characters seem like a commune of dropouts, and Saroyan qualifies as the first articulate hippie. They are deliberate outcasts in search of saintly goodness, and their symbol, Kitty Duval (Susan Tyrrell), the stock prostitute with the heart of gold, has a luminous inner purity. When cops enter the bar and beat the black jazz pianist bloody, the scene has a truncheon-like impact that was totally lacking in 1939, when such events seemed isolated from any social context with which the audience was familiar. In those days, Saroyan was known as the "crazy...
Passion for Privacy. Numerous parallels between Antoine and his creator have invited suggestions that this is a strongly autobiographical play. The last person likely to shed light on this question is Anouilh himself. At 59, looking like an aging bank clerk, with blank blue eyes behind silver-rimmed spectacles, he makes a fetish of privacy. It was three years before the world knew that he had divorced and remarried in 1953; his telephone numbers are unlisted and frequently change; and to keep his whereabouts secret, he shuttles back and forth between an apartment in Paris, a suburban house, a place...