Word: nikolais
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...birthday party, it could have passed as a wake. Russia's Nikolai Fedorenko slouched in his chair, appearing, if possible, more morose than usual. Britain's Lord Caradon glumly stroked his chin. In the Secretary-General's chair, U Thant looked about as happy as an undertaker. Outside San Francisco's Opera House, where 1,000,000 persons had massed in the streets to cheer the birth of the United Nations 20 years ago, fewer than 2,000 were now gathered; inside were row upon row of empty seats. Adding to the gloominess...
...tide. Next victim to be reprieved from obscurity was Marshal Georgy Zhukov, who showed up, replete with honors and ribbons, for last month's V-E-day celebrations in Red Square. Finally, after a decade in the doghouse, the wartime chief and "father" of the Soviet navy, Admiral Nikolai G. Kuznetsov, surfaced with the publication of excerpts from his Potsdam memoirs in Neva...
...first American tour, in 1923, the company performed four plays, including Chekhov's The Cherry Orchard and The Three Sisters. It returned with those two dramas, an adaptation of Nikolai Gogol's Dead Souls, and a new "realistic Soviet" play, Kremlin Chimes, all of which were warmly praised by the newspaper and magazine critics...
...Overcoat. In Nikolai Gogol's short story, as in this brief and virtually flawless film from Russia, Akaky Akakievich is a hunched, squinty-eyed penpusher, ridiculed at his office, who all winter long must suffer the cold winds of St. Petersburg whipping through his gauze thin overcoat. Compelled to buy a new one at painful cost, he talks to it, sleeps with it, defends it against a threatening moth. Next day, miraculously, Akaky Akakievich and his overcoat create a sen sation at work. His former tormentors are now backslapping friends; he is even invited to a champagne party...
Dead Souls, by Nikolai Gogol. When the Stanislavsky-directed Moscow Art Theater last appeared in New York in 1924, it was the apostle of a new dramatic naturalism bent on depicting man with all his mental warts, body aches and soul pains. For U.S. actors it was a kind of Magna Carta, freeing them from stilted and artificial stage conventions. In more recent years, the Stanislavsky Method has suffered the old age of any revolution, which is to become a religion. The esthetic irony of the Moscow troupe's reappearance on the Broadway scene is that 41 years have...