Word: plotless
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...stupid movie with Can-nd hordes of guest stars EPE) unsuccessfully apes s of the late and great d. Plotless and pointless...
...Broadway playhouses: Little Mary Sunshine, a musical spoof of old-time operettas; A Country Scandal, an early Chekhov play produced professionally for the first time in the U.S.; The Balcony, Jean Genet's mordant and amusingly symbolic study of politics in a brothel; The Connection, a plotless, devastatingly naturalistic, jazz-counterpointed evening with a collection of junkies; Krapp's Last Tape, a one-actor one-acter by Samuel Beckett, throwing a man's youth into the face of his age, produced on a twin bill with The Zoo Story, in which two men from opposite ends...
...Lonely Island. A more serious complaint is that the tried and true New Yorker formulas of the 1920s and '30s are out of place in the 1960s. The shapeless, plotless New Yorker short-story form tends more and more to pedestrian tales of the Irish moors and "When-I-was-a-child-in-Afghanistan-my-grandmother-used-to-tell-me" reminiscences. The New Yorker's cartoons still run faithfully to prisoners or to strandees on lonely islands. "I get awfully sick of prison pictures," admits Art Director James Geraghty, "but they keep coming in, and sometimes they...
Despite its manifold wit and moments of wisdom, the plotless Heartbreak House drifts along with its people, and at times reflects their languor. This is partly because Shaw's ante-bellum England is not in itself a theme, but only a framework for one. Where Chekhov portrayed something dramatic, the death-indeed the suicide-of a class, Shaw caught, at most, the malaise of a country. Moreover, his characters are all so busy explaining what they suffer from that though they convey a forcible sense of diagnosis, they give off only the most feeble sense of disease...
Balanchine's plotless episodes were set to later, drier Webern-music that chattered, squeaked, moaned and repeatedly died away in cacophonous little cries. Dance matched music with some wonderfully inventive and often funny sequences of movement. In one pas de deux (set to Five Pieces, Opus 10), Balanchine has a man and a woman approach each other time and again in an elaborate effort to embrace, only to have a final miscalculation leaving them clutching at air. Vastly different in their approaches, both Balanchine and Graham were remarkably successful at illuminating Webern's sparse, mostly atonal scores-perhaps...