Word: naã
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Palmer has the most difficult task in this respect, because her character switches quickly between modes. In one moment she is a na??ve newlywed; in another, a crazy woman trying to understand that her husband no longer loves her; and in another, a frustrated mother. She injects humor into all of these roles, especially with lines such as her distracted dismissal of her son: “Can’t you go play with the dead bodies or something? You’re eleven; you should like that sort of thing.” Palmer rises...
...princesses, similarly, are not the na??ve damsels in distress familiar from Disney home movies. Cinderella, played by Samara R. Oster ’13, ultimately convinces the Baker to look beyond the woods and his insecurities, in a scene that speaks to her strength of character. And although this Cinderella can communicate with birds—and sings just as sweetly—her talent at one point draws a disbelieving quip from the precocious, ferocious, and hilarious Little Red Riding Hood (Maya S. Sugarman...
Finally, it would be na??ve to believe that people would not lie about their sexual orientation. Some individuals are willing to do or say anything to get in to an elite college. But, unlike race, sexual orientation would be easy to fake, as colleges would have no ethically acceptable ways of checking...
...performance as the charming Swanilda evokes McBride’s distinctive articulation and finesse. As the curtains opened on the set of a quaint Austro-Hungarian village, Kuranaga took to the stage with flawless technique, embodying the spirit of the young, vivacious Swanilda with spunk. Madrigal portrayed a na??ve and good-natured Frantz, complementing Kuranaga both in character and skill. The first act was light and playful—the dancers of the corps de ballet (the chorus of the Boston Ballet company) swished their period costumes in Balanchine’s authentic character dances. Character dances...
...Catholic themes of the fallen nature of man, grotesque humanity, and violent salvation. Many of her stories climax with a confrontation between two archetypal characters. One is often an entitled southern lady with a superior attitude, while the other figure is typically of a lower-class, seemingly ignorant or na??ve. The tension gradually builds throughout the story until it is released when the working-class character suddenly attacks or humiliates his privileged counterpart. This kind of reversal, which occurs so often in O’Connor’s work, not only highlights the sinful arrogance of humanity...