Word: ordering
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Dates: during 1990-1999
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...said he believes the traditional standards of behavior have been undermined and the Iraqi social order is threatened...
...going to the movie expect to see, given this premise? Special effects and outer space settings are pretty likely. So are violence and a romantic twist somewhere in the story. And, as usual, audiences at science fiction movies are ready to set aside notions of realism and plausibility in order to enjoy the film as an entertaining spectacle rather than an intellectual experience. Soldier makes use of most of these assumptions, but in the end turns out to be a disappointing film no matter what expectations or allowances viewers might be willing to make...
Long the victim of radical altercation, time has proven Shakespeare especially receptive to changes in setting and order. Last weekend's Richard III is unusual in that both aspects were changed--not only was it produced backwards, it was produced backwards in an insane asylum. While the viability of both changes is suggested by the text itself, their simultaneous implementation is a very bold move. The historical Richard III was the deserving subject of horror stories for a good century prior to Shakespeare's dramatization, and undoubtedly, this is the same story, with all the murder, intrigue and back-stabbing...
Rather than the famous "Now is the winter of our discontent...," Sussner's production begins with a creepy gothic soundtrack and a series of strobe-lighted pantomimes predicting (in reverse order) the murders that lead to Richard's kingly demise. Though the twisted, dehumanizing feel of the play is well captured by this unsettling preview, its final effect is desensitizing. Rather than beginning (as Shakespeare does) with a group of characters whose humanity is undermined as the play progresses, the humanity of Sussner's cast is defaced from the very start. Though David Egan '00 (Richard) and the other cast...
...replacement and elimination of the human is a theme in Shakespeare's text that is preserved in Sussner's production. The Shakespearean version is great because it describes the anatomy of the takeover, and by doing so, maps the topology of death. By reversing the order, Sussner obscures the tragedy of death and leaves murder. Characters are killed before they speak so that their role in the play always seems an afterthought.. If this review has given little mention to the acting, it is because the acting is overshadowed by a radicalizing interpretation. Though Egan's well-spoken plottings...