Word: marce
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Dates: during 1950-1959
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...part of Sir Clifford, gives a singularly plodding performance and his French always sounds self-conscious and forced. As the gamekeeper, Erno Crisa has the suitable male-animal look about him, but his acting is pretty much confined to flying into plot-induced, if psychologically inexplicable, rages. And director Marc Allegret keeps things moving at a tediously even pace to an end which comes none too soon...
...Matisse and the other Fauves, the "Wild Beasts" who revolted against impressionism. When they returned to Munich in 1908, they settled in an apartment in suburban Schwabing, which became the headquarters of the Munich Fauves. Paul Klee lived two houses away, and near by were Alfred Kubin, Franz Marc, Alexei Jawlensky, August Macke. In painting excursions through southern Bavaria, Kandinsky and Gabriele discovered the village of Murnau, where they bought a house, called to this day the Russenhaus, with a fine view of the Alpine foothills. Kandinsky held court there too. "Every day is like a festival," Macke wrote...
...Blue Horses. As Kandinsky developed from his Fauve to his abstract period, conservatives in his group rebelled. Kandinsky, Gabriele, Marc and Kubin walked out on them, soon to be joined by Jawlensky, Campendonck, Klee and Composer Arnold Schoenberg, who at the time fancied himself a painter. They formed der Blaue Reiter group. The name was thought up by Kandinsky and Marc over a cup of coffee. "We both loved blue," Kandinsky later recalled. "Marc loved horses, I loved riders. So the name came naturally...
...been making modest profits ever since. Flusser has more than tripled the original $65-a-week salaries of the six young members of the troupe. After Dinner has been successful because it staged sprightly productions of such new works as British Composer Gerald Cockshott's Apollo and Persephone, Marc Blitzstein's Triple Sec. The troupe scored a critical success in an appearance at Edinburgh last year (TIME, Sept. 10), is currently preparing to open at Manhattan's off-Broadway Phoenix Theatre with the first U.S. performance of Offenbach's 66, a 40-minute spoof of Austrians...
...frozen. As Sonia, Charlotte Clark looked believable, but stood rather rigidly, often in awkward closeness to others on stage. Her face occasionally wandered far out of her role, and she was only at moments able to bring the partial vitality, youth, and hope of Sonia onto the stage. Marc Brugnoni brought interest and skill to the part of a broken friend of the family...