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...play's leading characters, Stanley Kowalski and Blanche du Bois, symbolize the eternal struggle of earthy reality v. the romantic imagination, bestiality v. beauty. Of course, the symbols would possess little dramatic strength if the two characters were not vivid flesh-and-blood people. For the play to achieve its maximum emotional impact, much depends on a balance of forces and an electric tension between Stanley and Blanche. The Lincoln Center Repertory Theater revival is slightly, but naggingly off balance...

Author: /time Magazine | Title: The Theater: Beast v. Beauty | 5/7/1973 | See Source »

...normal for a people of less than 3,000,000, living in the small area we possess, to do what we have done. Our military posture, our scientific and technological achievements, our economic volume do not correspond with these dimensions...

Author: /time Magazine | Title: The World: Thoughts Before the Feast | 4/30/1973 | See Source »

...face of Rockefeller. After calling the GOP county leaders "peanut politicians," Wagner turned down the idea of a primary fight with Marchi, a fight he would surely have lost. A few days later, Wagner also rejected the Liberal Party's offer, claiming that he did not possess the consuming desire for the mayoralty that he felt was necessary...

Author: By Leo FJ. Wilking, | Title: Worms in the Big Apple | 4/30/1973 | See Source »

...irrational, but implicitly racist were skimmed over. At one point, Kael claimed that the best films of the next two decades would come from blacks. When pressed to reconcile this with the mediocrity of previous black films, Kael answered that cultures other than Western white ones, which did not possess structured literary traditions, could use film to find "exciting" new ways to express their sensuality. A black friend of mine then hissed. Kael got upset, and asked for the objection to be verbalized. So another friend inquired, "Are you implying that films can be made by morons?" At this, Kael...

Author: By Michael Sragow, | Title: Deeper Into Kael | 4/26/1973 | See Source »

...Museum of Fine Arts's excellent show last spring, "Abstractionists of the Seventies," the two or three most striking canvases were those of Jules Olitski. Olitski's particular combination of richness and control has given him an attraction which blander formalists or more effusive color-fielders both possess only half-way. He is at the height of prominence now, and the show of some 60 works at the MFA shows how and why he got there...

Author: By Phil Patton, | Title: To the Edge and Back | 4/21/1973 | See Source »

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