Word: mimed
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...view of the problems of Dobbin, a $1,000 steed of cloth and leather, with movable eyes, ears, lips, jaws, tail. Horse-players: Vladimir Vassilieff, Kari Karnikovski. From 1903 to the present, Dobbin foots it featly while such top-notch Caravan dancers as Marie Jeanne and Nicki Magallanes mime the rise of the Ford-often on the toes of their ballet slippers. The music of NBC Staff Composer Tom Bennett, canned on a sound track for the first time in ballet, accompanies them tunefully, if not with great distinction. At the end, Dobbin is reconciled to the horseless carriage...
...thousands of sophisticated Manhattanites throng the Metropolitan Opera House to goggle at old-fashioned Norse gods and blimp-like maidens disporting themselves in animal skins and burlap. The music-dramas of Richard Wagner, with their wilful, slow-witted heroes (Siegfried, Parsifal, Lohengrin), and their clever, conniving villains (Beck-messer, Mime, Alberich), are far & away Manhattan's favorite operas...
Taken either as independent creations or as spadework for her miming, her new paintings and drawings of archaic Greek and Oriental forms, Spanish bullfighters, imagined figures from history, were fresh, economical, expert. Her evening of pantomime to music was a reassuring exhibition for devotees and newcomers alike in a large, light-hearted audience. And in her briskly written account of Mediterranean travel, study and U. S. trouping, critics found a key to the pleasures of mime that many of them, had long fumbled for in vain. This key was, simply, vaudeville...
...never had proved to my satisfaction." says Angna Enters, "that working in tragedy and 'high comedy' requires anything greater than performing on the variety stage. . . . At least, these ordinary vaudeville performers do not get across by special pleading that they are 'pure spirits.' " One thing Mime Enters found in performers like Bill ("Bojangles") Robinson. Jimmy Savo, Moran & Mack and the Fratellinis was timing raised to a high art. She raised it, in some instances, higher. Her use of castanets in a dance-pantomime called Boy Cardinal, composed in 1932, was something Bojangles or even the late...
...Mime Enters is only chilled by what is commonly known as "interpretive dancing." One thing that prompted her to write about her own work was the feeling that "this Pure Dance had been getting away with esthetic murder long enough." But the strongest impulse to express herself otherwise than in painting and pantomime came after she saw the outbreak of the Spanish revolution last year. Back in the U. S. she found herself writing magazine articles, speaking on the radio "as a person about persons," finally eager to speak, as a person, about herself...