Word: medea
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...footlights, nervously made an entrance in the ballroom of London's Buckingham Palace. Quivering with stage fright, she was invested by Queen Elizabeth II with the insignia of a Dame Commander of the Most Excellent Order of the British Empire. Tremoloed Dame Judith in her best Medea style: "The hardest role I've ever had to play...
...true of a Beethoven symphony as of the distorted figure of a Gothic saint as of the distorted pointing finger of Matthias Grunewald. The literary artist also by necessity must choose the exaggerated and often grisly side, especially the dramatist. Characters like incestuous Oedipus or child-murdering Medea are as "immoral" as the deplored modern ones, and so, for that matter, are Macbeth or Hamlet. FREDERICK P. BORNSTEIN El Paso...
Judith Anderson has done this sad thing to Medea and Laurence Olivier has done it to both Oedipus and Richard III." Leap Out of Time. Fear of conformity sometimes results in a false personality cult. "The artist becomes the isolated, romantic hero, instead of taking up the task of building . . . higher and deeper rituals wherein alone personality will be achieved and our cheaper conformities or etiquettes restore themselves to sense." Even in as Roman Catholic a writer as Graham Greene, Critic Lynch finds "a subtle if unconscious demonstration of the Manichaean way"-especially in the novel...
Alcestis was one more contribution to the Graham cycle of Greek drama that already includes Night Journey (Jocasta), Cave of the Heart (Medea) and Clytemnestra. Around the central props-a massive, grey stone wheel and tower-the 27-minute work unfolded in episodes of tortured simplicity. Alcestis. danced by Martha Graham, writhes on a ramp with King Admetus in a series of languorous embraces; Thanatos (Death) struggles with Alcestis in a sinuously elegant dance; the hand of Hercules, bearing a single white lily, is suddenly thrust from the center of the wheel, symbolizing the rebirth of life...
...discovered that cataloguing was not really her game: at the remarkably late age of 25 she gave it up to become a dancer. Since then, as one of Europe's most talked-about choreographers, she has been busy constructing her own five-foot shelf of bibliophilic ballets: Medea, Romeo and Juliet, Miss Julie. Last week she was in Manhattan to witness the premiere by the American Ballet Theatre of her latest work, titled Lady from the Sea, based on a moderately successful play by Henrik Ibsen...