Word: movements
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Dates: during 1960-1969
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...serious doubt about the scientific character of some aspects of the analysis contained in the document. In style, the document is more frequently couched in invocatory-propagandistic rather than analytical terms, and this makes it impossible to catch the whole novelty, wealth and complexity of the world-revolutionary movement." The words were those of Enrico Berlinguer, the deputy leader of the Italian Communist Party, and he was addressing the other 74 delegations at the world Communist summit meeting in Moscow. Berlinguer was criticizing the 47-page communiqué that the Soviets hoped all the parties would sign as a symbol...
...really remarkable that there were abstentions and objections. Surprising, however, was the extent to which the Soviets bent and shuffled in order to get as many signatures as possible on the dotted line. Moscow had once aimed to use the conference to read the Chinese out of the Communist movement. No such luck: all direct mention of the Chinese was knocked out of the final version. The Kremlin had also wanted to gain the parties' approval for the doctrine of limited sovereignty, by which the Soviet regime justifies the invasion of Czechoslovakia. Russia settled for a watered-down defense...
Most of all, the Soviets had hoped to revive miraculously their former role as the leaders of world Communism. Instead, they were forced to publicly renounce any claim to hegemony. "All parties have equal rights," declared the final paper, adding: "There is no longer a center of the Communist movement...
...filling pieces. Onegin uses a score by Music Director Kurt-Heinz Stolze based on short pieces by Tchaikovsky. The work moves quickly and assuredly through Pushkin's tale of romance and betrayal, never assuming the luxury of a dance-for-dance's-sake diversion, bending every movement toward dramatic ends. Shrew, with music by Domenico Scarlatti arranged by Stolze and liberally peppered by his modern harmonies, adds a welcome touch of wit and tenderness to Shakespeare's buffoonery...
Both works featured the company's prima ballerina, Brazilian-born Marcia Haydee, 29, a dancer of stunning technique with the rare ability to turn the simplest body movement into a full statement. Touchingly simple as the lovelorn Russian girl who draws strength from rejection, deliciously rambunctious as Shakespeare's ultimately tamed volcano, Haydee is to the dance what Maria Callas has been to opera. She is an artist incapable of a dull or empty gesture, able to communicate a state of mind through an impressive range of movement or even by standing still. Her frequent partner is California...