Word: postmodernity
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...actors, like his sense of humor, is just off center and right on target. It gives all the performers (especially Goodman, who becomes tomorrow's star with his endearing turn as Louis) plenty of room to expand their characters from stereotypes into the deft cartoonery of a postmodern Preston Sturges stock company...
...committed is the versatile Gerard Pangaud, formerly the owner of a two-star Paris restaurant that bore his name. He has thrown in his lot with Joseph Baum, the inventive New York impresario who created The Four Seasons and Windows on the World. Baum now runs a promising, quasi-postmodern creation called Aurora, where eclectic new French-American cooking prevails. Among the better menu choices are the roasted pigeon with sweet garlic, lime-broiled guinea fowl and a pungent lemon hazelnut torte. Enthusiastic over what he calls le reve americain (the American dream), Pangaud says, "I love the open-mindedness...
...catch the attention at highway speeds. Usually, as Langdon says, it was a case of "form faking function." Cosmetic A-frames were slapped onto plain boxes; McDonald's golden arches never supported anything. The "modernism" of the fast-food stands was superficial set design, not unlike today's putatively "postmodern" shopping- mall facades...
Like many modern and postmodern choreographers, Morris also dances with his company. He is a riveting performer, with a delicate, Chaplinesque face atop a strong, bulbous body. For a while last year he wore his hair in a thick mass of long black curls that would have done credit to a baroque grandee. In motion he radiates amplitude verging on excess. In One Charming Night, a dance set to four Purcell songs, he presents his own outrageously funny version of the old warhorse Le Spectre de la Rose, leaping and swooping with abandoned ardor around his seated beloved (Teri Weksler...
...death of the authors" has ironically inaugurated a backward-looking era for cultural literacy. At the same time, Blonsky's exclusive salon is also visited by still-vital voices such as Umberto Eco, Fredric Jameson and Julia Kristeva. The result is a surprisingly accessible sourcebook on the fallout of postmodern self-expressionism that tries to rescue semiotics from exclusive appropriation by French aesthete-intellectuals and present its current practice as an applied science for decoding the loaded meanings of everyday situations...