Word: musicalization
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Dates: during 1970-1979
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...piece follows the Graham technique. Two dancers stand on stage, bodies rigid, hands clasped around their waists, expressions stony. One faces two high-backed chairs, back to back, seating two onlooking dancers. The other faces an empty wooden stocks, a dancer behind. The music begins, slow at first but full of potent emotion. Their bodies become expressions of the music...
Downstairs Pamela C.R. Jones, a percussionist with the Jerusalem Symphony, teaches a course on "Music for Dancers." Across campus in Memorial Hall, Leon Collins, the great '40s tap dancer, leads students in the study of his art. And Iris M. Fangar, a dance critic and director of the Harvard Summer Dance Center teaches two courses, "Writing for Dance," and "Dance History." And this is just a sampling of the variety the Harvard Summer Dance Program has to offer...
...scares, but the heavy use of shopping mall Muzak and color (the original was in black and white) buffer the horror and amplify the irony. It's also shockingly well-directed, blazingly edited (also by Romero), well-written (by Romero), and even well-acted (not by Romero)! The music editing, color, and jerky movements of the living dead combine to create a weird cinematic tour de force, and an all-too-colorful black comedy...
...film making. With the help of Bruce Surtees' elegant, metallic-hued cinematography, Siegel makes every point as economically as possible. His style is the visual equivalent of John D. MacDonald's prose, which serves this kind of material well. The tension builds so naturally that neither hokey music or contrived menace is necessary. Only once does Siegel lose control - in a jarringly graphic finger-chopping scene that lit erally and figuratively sticks out like a sore thumb...
...minor classic The Friends of Eddie Coyle (1972), still knows how to place surreal descriptions in the dialogue of his characters: "Marian looked like a small horse, perhaps a pony, who had read Vogue and believed it." And he has not lost his conductor's ear for the music and lilt of Boston Irish patois. Here the punch lines are stronger than the plot lines, but Higgins' characters are so shrewdly observed by Year's end, as Edgar confronts Peter, that it is impossible to disagree with his summary: "You're a son of a bitch...