Word: modernists
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Dates: during 1980-1989
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Written by modernist playwright Bertolt Brecht and an allegory for the rise of Nazism in Weimar Germany, this work marks not only the resistible rise of Arturo Ui but also the rise of a direction/production trio. The three have done several other productions together in the past, including last year's hit The 5th of July, are good friends and they even live in the same entry way of Leverett House. But all agree that the sheer logistics of a mainstage production require a different approach...
...Cuevas. This was an archaic, almost Gothic patterning -- inside which his genius for simplified form could produce the most ravishing episodes of detail, as in the folds and loopings of the monks' white habits in The Virgin of Mercy. It is one of the things that commends Zurbaran to modernist taste. But to Velasquez's circle it cannot have looked very sophisticated. For all his formal solidity, moreover, the perimeter of Zurbaran's space often seems as thin as tissue, ready to collapse under the pressure of revelation -- and sometimes it literally does, as when the back wall...
...studying textile design at London's Central School of Design, he free-lanced as a furniture maker before opening a home-furnishings store, called Habitat, in London in 1964. From its rows of white crockery to assemble-it-yourself pine beds and tables, Habitat offered products designed in the modernist tradition of the '30s, a kind of Bauhaus for our house: less is more, natural is better, simple is best...
Acting on the grand scale compounds our relief at slipping free of our modernist bonds, of regressing happily to a time when our serious fictions were both sure and energetic in their morality. But such works require time and space to grow properly. Compression is an invitation to contrivance, forced coincidence and melodrama. And Director-Adapter-Producer Berri (The Two of Us) refused to reduce this film to that level. Using L'Eau des Collines, a two-volume novel by Marcel Pagnol (which was itself a reworking of material the author used in a commercially failed film), Berri pursued...
During the last years of World War II, most buildings in central Berlin were destroyed. Postwar planners, in a kind of survivors' frenzy, pulled down much of what remained intact, finishing with bulldozers and wrecking balls what the bombs had begun. They clung to their modernist faith, bedazzled by the idea of starting anew. The war had given their ahistorical impulse -- Erase the past! -- maniacal urgency. The denuded cityscape was regarded in the '40s and '50s as the war's silver lining, a great opportunity. New buildings would be high-rise, set far apart and back from the streets. Density...