Word: pozzo
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Dates: during 1980-1989
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...ancient sculpture and architecture abounded; from them, antiquity could be reimagined. It was the strength of the reimagining, not just its archaeological correctness, that counted. Poussin's main regular job during his Roman years was drawing records of ancient sculpture for a rich antiquary and scholar named Cassiano dal Pozzo. This gave him excellent access to collections, and the time to develop the repertoire of figures that would fill his work in years to come. Rome was not just a boneyard of suggestive antiques; it was full of living art whose plasticity, color and narrative richness surpassed anything he could...
...hours." But in his Roman youth, he could and did turn them out, and it would be idle to pretend that all early Poussin is on the same level. Some paintings are much less "finished" than others. A few are hackwork (such as Hannibal Crossing the Alps, done for Pozzo, who had a thing about elephants). And one painting from San Francisco's De Young Museum, The Adoration of the Golden Calf, does not survive comparison; it is clearly not by Poussin at all, though it shows how fanatically others imitated him. But the unevenness is part of Poussin...
According to Boston Magazine writeup, "Anderson's rugged good looks have led Hard executive Bob Del Pozzo to state. 'Michael will skyrocker...
McCue and Redford are not the only characters to don headgear. But neither Jeff Horwitz as Pozzo, a representative of the society that Beckett challenges, nor Lisa Claudy, as Pozzo's servant Lucky who responds to his master's every call, can remove their hats with the same aplomb. They lack Redford and McCue's dramatic dexterity. Horwitz seems content to outshout the rest of the actors, sounding more vaudevilian than dramatic. Claudy is not up to Beckett's extremely demanding monologue that satirizes Joyce, and sounds uncomfortable with the speed with which she must utter Lucky's stream...
Horwitz appears to be waiting for the big deal of the day behind Door Number Two, not Godot; his interpretation of Pozzo is out of line with the rest of the characters. Somehow, he's convinced that his world is not reduced to nothingness. But Beckett would have Pozzo contemplate sex, war and food--human experience--like an unfulfilled poet searching impotently for the right word to end a stanza. Horwitz's Pozzo is too animated in a lifeless and desolate wilderness, where the only legitimate spirit takes the form of Godot's messenger, a young boy played ably...