Word: monreal
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...almost nothing before the revolution, and after 34 years they are fiercely proud of the guarantees -- so rare in Latin America -- and are determined not to lose them. "There is no way you can take away the achievements of the revolution," says 35-year-old reformer Pedro Monreal. "They are installed on the hard disk of my generation." Cubans insist they will manage to keep these benefits and still revive their shattered economy...
...young Marxists are advocating economic change before political change -- the path the Chinese insist they are taking, in contrast to the approach favored by Mikhail Gorbachev when he ran the Soviet Union. "Communist parties around the world have faced our same dilemma, the sequence of reform," says Monreal. "In Cuba's case, the choice was to promote economic reform first. That will transform the state." The yummies admit that major alterations in the political system are unlikely anytime soon. "How can you open up political reform while the economy is a mess? It's suicidal," argues political scientist Santiago Perez...
...resulting rise in the water table gradually undermines the foundations of buildings, causing them to list and even collapse. In 1987, according to Luis Monreal, director of the Getty Conservation Institute in Los Angeles, at least one house fell down in old Cairo every day. "The damage is irretrievable," he says...
...Repairs in the early 1980s used cement, which introduced water to the limestone and trapped existing water inside. More recently, workers have used dry limestone powder, similar in composition to the original rock, to strengthen the base of the Sphinx. One proposal from the Getty Institute's Monreal: place the entire statue under a protective canopy for several months at least, while exploring alternatives. The Ministry of Tourism vetoed that idea...
...final work was Lorenzo Monreal's version of Carmina Burana. A series of sketches accompanied by Carl Orff's lusty medieval songs, the work is a luxuriant celebration of the pleasures of the flesh. Accordingly, every element in this production was pushed to abnormally heightened intensity. With the placement of the accompanying Harvard-Radcliffe choruses along the walls of the theater, the sound engulfed the audience from all sides, rather than just from the orchestra pit. And the visual scene was intensified by the moving colored lights and the looming shadows of the dancers projected onto a backdrop...