Word: mimed
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Shaw might be accused of being mercenary if financial terms were the only ones for which he cared. But true artist that he is he has something to say about who shall mime his characters. Tunney would do very well, but there is in addition to a hero a villain. And the villain a the author has his way and this author usually does will be acted by the unfortunate Mr. Dempesey Shaw's kownness is remarkable; but if memory serves correctly he has other motives than aesthetic ones. He had a wager up once on the Dempsey Carpentier fight...
...Monologue, Le Mime, et la Farce" will be the subject of the eleventh of Professor Alfred Jeanroy's lectures on "Le Theatre Francais au Voyer Vie", which he will deliver this afternoon at 4.30 o'clock in Emerson...
...Siegfried was performed at the Metropolitan Opera House, Manhattan. Wagner lovers, packed like olives, heard the great score greatly interpreted by Conductor Bodanzky, heard Frederick Schoor resonantly represent Wotan, Mme. Larsen-Todsen awake with sweet screams in her circle of fire, George Meader shiver with the impotent cunning of Mime, the dwarf. They witnessed, in addition, an accidental and well-nigh tragic incident which concerned Curt Taucher, tenor, who sang Siegfried, favorite of the Gods...
...which they watch. In mockery they tell him that, if he forswears love, he will have power to steal the Rheingold; that if he steals the Rheingold, he will "own the world and all its mighty power." Alberich scrambles to the gold, curses love, vanishes. He has his brother Mime hammer the gold into a helmet which makes him invisible, into a magic ring. Wotan, father of the gods, needs the gold to pay a ransom, seeks out Alberich, takes ring and helmet from him. "Cursed is he who wears that ring," cries Alberich. Then lovely Erda, mother...
...forerunner of the Katschei dance in Strawinsky's "Oiseau de Feu", and a good instance of the influence of master over pupil. Little wonder that "Mlada" is not well known. The scenic demands are enormous--from the Baltic to the Nile, as vast corps de ballet is needed to mime the spirits of the chief characters, and the score calls for a huge orchestra of some hundred men and such unusual instruments as lyres and flutes of Pan. However, the third act as presented in concert form, only serves to prove the Rimsky-Korsakow is one of the greatest orchestrators...