Word: lyricizing
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...feel Chicago's texture. Characteristically, he installed his office in an old warehouse with a greenery-filled atrium and a glass-roofed elevator-"so you can look at the clouds." His own designs, from Washington's Arena Stage theater to the U.S. embassy in Ghana, are similarly lyric, and they always respect their architectural context. In his Walton Apartments in Chicago, for example, he used bay windows to echo those used by the city's great turn-of-the-century architects: Daniel Burnham, John Root, Louis Sullivan and Dankmar Adler. Says Weese: "I would rather match...
...remarkable feat of endurance. In white suit and panama, he unifies the performance completely, whether in recitatives of improvised rhythm chanted to the plink of a single piano or sitting silently in a canvas chair as an observer. Gone are the Pears-shaped tones of the young lyric tenor. In their place now emerge dramatic powers of characterization. As a noted German author captivated by a winsome Polish boy in Venice, Pears' body seems literally to disintegrate with frustration...
...Watergate dart board, or brood over a Watergate jigsaw puzzle, or even write their friends on Watergate stationery. Or they can listen to a recording of the first (but undoubtedly not the last) country-and-western Watergate ballad, At the Watergate (The Truth Come Pouriri Out). Sample lyric: "If you're wonderin' why they wouldn't blow the whistle, it's no mystery/ Lots of cash and lots of hints of Executive clemency...
...commitment, yet at the screenings of his films that accompanied the O Lucky Man! premiere, two stood out above the rest: The White Bus, a 1966 short film about a woman who takes a bus tour of her home town (a film containing only vague social comment), and the lyric 1967 short, The Singing Lesson, in which Polish songs accompany a masterfully planned, plotless set of views of Warsaw. The two shorts are hardly ever shown to the public yet they, not the "epic" O Lucky Man!, represent Lindsay Anderson at his best...
...because Cyrano wears his soul with panache, a plume of the lyric spirit. He has the brio of a Don Juan, yet he dares not woo the beautiful and shallow Roxane for fear that his monstrous nose will render him ridiculously ugly in her eyes. And so he puts his words of eloquence, passion and longing at the service of the handsome and inarticulate dolt Christian, whom Roxane fancies. Cyrano also possesses some of the romantic chivalry of Don Quixote. He tilts at the crass, compromising windbags of this world. He has an in nate gallantry that makes his last...