Word: pointings
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Dates: during 1960-1969
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...crouched behind his instruments while Ozawa unleashed a brass-heavy fanfare. After a menacing roll on the bass drum, Yamash'ta picked up speed and energy, began to ricochet from one instrument to another. Hair flopping, arms flying, he nudged, banged, tickled and teased the instruments. At one point he flailed away with both hands, simultaneously blowing onto bamboo sticks, kicking the prayer bells and rubbing his body frenziedly against the gongs. After it was all over, the audience gave him a standing ovation. "I don't know that I like the music," commented one dazzled member...
...prove the point, Dr. Richard J. Hirschman and his colleagues at NIH went back to an old and seemingly cold trail. In 1952-54, a study was made of hemophilia patients who contracted serum hepatitis from injections of an infected blood-clotting factor. The researchers took weekly blood samples but did not find the culprit; so they deep-froze the samples and stored them. In 1968 the 15-year-old samples were thawed out and tested for the Australia antigen. The viruslike particle was found in the blood of 46 (or 74%) of the patients...
Seeping Smoke. Even the act of seeing an emergency is surprisingly difficult, Darley and Latane point...
...plays premiered in London by the Royal Shakespeare Company, Pinter has in effect written the silences and let the words fill in suggestively. Such a drastically reductive approach yields spare shards of poetic realism, reminiscent of the prose of Joyce and Beckett. But it also demonstrates a rather arid point: in esthetics it is not always true, as Mies van der Rohe once said, that less is more. Sometimes it is less...
...Silence, presents two men and a woman (Anthony Bate, Norman Rodway, Frances Cuka) seated in the 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...