Word: looks
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Dates: during 1980-1989
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...better than Hollywood's; the question is whether they should. Journalists are in the business of conveying reality; re-enactments convert reality into something else -- something neater, more palatable, more conventionally "dramatic." Mental institutions are filled with raving loonies; murderers move in grainy, horrific slow motion; civil rights leaders look like James Earl Jones. There was no better drama on TV last week than the joint appearance on ABC's Nightline of Dr. Elizabeth Morgan and the ex-husband she has accused of molesting their daughter. No re-creation could possibly capture that. Let's hope no journalist tries...
...Prick Up Your Ears. Onstage in the summer of 1986 in London, she demonstrated her range by alternating as the worldly queen in Antony and Cleopatra and the humiliated, housebound maiden in The Taming of the Shrew. If anything linked those two roles, it was only the pained look they shared, that unforgettable gaze from those grave and piercing eyes as they take in the unimaginable perfidy of the world...
...same haunted, haunting look is hers in the role that has brought her back to Broadway after an absence of a dozen years: the thickly accented daughter of an Italian immigrant in the steamy Southland of Tennessee Williams' Orpheus Descending, which opened last week. The production, by Sir Peter Hall, former artistic director of both the Royal Shakespeare Company and Britain's National Theater, was a hit in London in December. Yet it took a risky struggle to transfer the show. Redgrave is a fervid member of a radical group called the Marxist Party; she has poured much...
...want to know what painting is or can be, look at Velazquez. This has been the judgment of artists for the past 300 years. It is as though Velazquez has never been seen as anything but the summit of excellence in art, embodying a degree of intelligence, pictorial skill and lucidity of realization that defy not only imitation but, in some final way, analysis itself. He is to realism what Piero della Francesca is to abstraction. First Edouard Manet and then a whole succession of French painters from the 19th century into the 20th (not to mention English and American...
...viewer turns mark back into sight. How can painting serve empirical ends and reveal truth? Only by disclosing its stage machinery -- not by fooling the eye, but by making the mind more aware of the ways in which it reads marks and constructs them as things. When you look at a Velazquez, you do not look at an illusion of reality. You are inducted into a relationship with the painter's civil candor about what he does. You are invited to think about how paintings come to mean what they say. Brought to the fore, embodied on the surface ever...