Word: mahlers
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Dates: during 2000-2009
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...young European Muslims suggests a parallel with European Jews. Despite centuries of racial, religious and social discrimination and economic deprivation, not to mention the pogroms and ghettos of the World War II era, Jews have produced philosophical, artistic and scientific geniuses like Baruch (Benedict) Spinoza, Felix Mendelssohn, Gustav Mahler, Franz Kafka, Albert Einstein and Marc Chagall - not suicide bombers. Jack Hoffmann Allerod, Denmark Your cover headline "Why Some Young European Muslims Are Turning to Extremism" makes a rather broad assumption. Aren't there any disaffected young Muslims in the U.S.? Aren't any of them unemployed and angry about living...
...action thereafter is driven almost purely by dialogue. Sophie, Hans, and other student members calling themselves a part of “The White Rose” are interrogated at the Gestapo headquarters, where the slimy, power-hungry officer Mahler (Jeremy R. Steinemann ’08) persuades reluctant Gestapo Chief Mohr (W. Brian C. Polk ’09) to hold the captives indefinitely. Mohr, in fact, stays true to his promise and does not let his prisoners go free...
...bureaucracy is most prominently personified by Steinemann’s Mahler. Although at times he seems to be just reciting lines, Steinemann succeeds overall in his portrayal of one example of a revolting “follower” of the System. Standing in stark contrast to Mahler’s devilish and truly exasperating persona is Kawaller’s Sophie Scholl, as the flawless angel who works hard to expose Mohr’s sense of humanity...
...Kawaller’s Sophie seems to succeed in her mission, it is largely because of the “father-daughter” dynamic, which is somewhat forcibly and awkwardly established in the script between Mahler and Sophie from the beginning of the play. (At one point, Sophie pointedly asks Mahler, “What is your father’s name? Robert?” to which Mahler responds, “My name is Robert.”) The sometimes clumsy script is ably repaired by the quality of the interaction between the two players...
...Shostakovich being cowed into abject submission by Stalin," says Matsov. "Shostakovich, my father and Yudina waged their own campaign of cultural resistance - and won." Beyond Shostakovich's daring work, this trio also organized public performances of over 400 mostly religious pieces, including works by Bach, Wagner, Haydn and Mahler that were banned in the U.S.S.R. The archive is an extraordinary resource on cultural life in the old Soviet Union. Now it is in danger. In 1993 the house was restored to its lawful owners in the wake of the de-Sovietization of Estonia. Matsov, a Muscovite, cannot afford to spend...