Word: petered
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Dates: during 1960-1969
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...Peter Principle, Peter and Hull (4) 2. Ernest Hemingway, Baker (2) 3. The Kingdom and the Power, Talese (6) 4. Jennie, Martin (1) 5. Between Parent and Teenager, Ginott (3) 6. The 900 Days, Salisbury (5) 7. An Unfinished Woman, Hellman 8. Robert Kennedy: A Memoir, Newfield 9. The Money Game, 'Adam Smith' (10) 10. The Arms of Krupp, Manchester...
...disembodied setting of a hazily mirrored stage and backdrop. They all have monologues to recite about loneliness and remembered passion. But each monologue is fragmented, interspersed with the others, phrased, sometimes from the point of view of age, sometimes of youth-and always arranged around tense, troubled silences. Under Peter Hall's sensitive direction, it soon becomes evident that Pinter is using these jagged aural spaces to signify not only the passage of time but also the distance between people and the emptiness of their worlds. But where does he go from there...
Learned Response. Dr. Peter Lang, research professor of psychology at the University of Wisconsin, has applied autonomic learning to control the human heart rate. Attached to a monitor, a subject is told to watch a TV-like screen and to make the moving lines on it shorter, corresponding to a slower heart rate. Without any conscious effort or muscle tensing, the lines shorten, the rate slows, the subject becomes able, as Lang puts it, "to drive his own heart." Lang has not probed for an explanation beyond showing that the changing heart rate is indeed a learned response. The unconscious...
BLOBBING DAMPLY up the grand stairway of the Agassiz Theatre, to keep his appointment with Timothy Mayer's masterful staging of Jesus (A Passion Play for Cambridge), this reviewer passed by Peter W. Johnson--a Technical Director qualified to retire the title--locked in brief colloquy with a bearded minion. A conversation was overheard. Quoth the minion: "There are no more weights." Replied Johnson: "Well...use anything...
...audience among the other characters--whether to his disciples, his accusers, or the crowd at large--he reserves the essential personality of Christ himself. Where acting styles are concerned, "use anything" would appear to be Teuber's operating principle, no less that that of the entire remarkable show, including Peter Ivers' electric eclectic and near continuous score. The result preserves the mystery within the myth...