Word: outerness
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...touchdown on a dusty Kazakhstan plain, ending what Soyuz Commander Aleksei Leonov in his colloquial English said was a flight that seemed to go "as smooth as a peeled egg." The Kremlin promptly hailed the joint mission with yet another barrage of pronouncements. Exulted Izvestia: SUCCESS IN OUTER SPACE FOR PEACE. The Russians had more reason to crow. At week's end the two cosmonauts who had been aloft in a Salyut space station all through the Apollo-Soyuz mission returned safely to earth after 63 days in space, a Soviet record...
...with doubts about its diplomatic implications. Echoing a concern often heard in France, as well as in some Third World countries, that détente means that Washington and Moscow are building a condominium of world power, the Paris daily Le Figaro posed a question: "Would the handshake in outer space, by accident, be a menace for the rest of the world, crushed under the two giant rivals who embrace over our heads...
...touching woman who caused it. Rocket Man is a sweet conceit in which the writers conjure up for us what the real-life astronauts never seem to have: the feeling of anxious sadness that must attend exceedingly rapid passage from familiar earth into the dark, cold reaches of unknowable outer space. Then there is Daniel, a song about a wounded war veteran taking leave of his family in order to avoid their pity. These can scarcely be dismissed as moon-June moonings...
...Outer Limits. Tetley's vision is not literary but psychological, vital and sexual. Absent is the usual dance contest between Daphnis and the cowherd Dorkon, danced by Reid Anderson, for the reward of Chloë's kiss. The veil dance of Lykanion, the Grecian Salome, is gone too. Instead, German-born Ballerina Birgit Keil slithers into a hot pas de deux with Cragun, whose ardent body is counterpointed by his gentle face. Through her mellifluous movement, Haydée conveys a Chloë too ripe to be altogether innocent...
Like Cranko, Tetley pushes his dancers to outer limits, interweaving distended limbs and torsos in intricate patterns. Ballerinas jet up like natural gey sers in grandiose one-handed lifts, only to plummet a moment later in balletic kamikaze dives. This is not orthodox story ballet. But the choreography is fluent, strong, and from the beginning moves with the propulsion of a Metroliner. Tetley's Daphnis and Chloë should be a Stuttgart staple...