Word: proletariat
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Dates: during 1960-1969
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...deaths of a countess, a viscountess, a baroness, two lords, two baronets, a knight and the widows of eight knights. It seems possible that these deaths, coupled with widespread student rioting, disaffection with the Westminster government and the bloody battles in Ulster, indicate that at last the British proletariat have begun to throw off the bloodstained shackles of the aristocratic governing clique...
...civil rights cause. Student patronage of such causes tends to distort them, inflame them, or deflect them. Student activists look for and require some oppressed class with which they can identify. They seek to offer themselves in a self-sacrificial way to an excluded group, whether it be the proletariat or a racial minority...
...incites this kind of turnout is Dario Fo, 42, actor, playwright, dramatic apostle to the proletariat, and currently Italy's most incendiary theatrical personality. Social protest flows from Fo's work but it bubbles with laughter. He conceived of Grand Pantomime as a kind of cartoon political morality play about Italy from World War II to the present. Intransigently anti-Fascist and bent on exposing what Fo considers crypto-Fascism, the play is deeply concerned with the exploitation of workers under whatever form of economy and government. Fo calls his own political stance "extreme free left...
Social Realism as a form is tighter, more constrained, more artificial than the sonnet. It has only one scenario: the proletariat realizing its historical role. It has no hero except the proletariat itself. It has only one outcome, the triumph of workers. To a Marxist of course this is the scenario of history, so it is obviously valid and objective. Social Realism is in many ways more like a theorem than a complex work of art. It uses the postulates of a particular system of belief in order to deduce a proof that the original beliefs were valid...
...masterpiece out of his raw materials as we watch. Motion is created before our eyes, from still shots, as in the montage on the steps, or the three shots of stone lions whose juxtaposition makes the Czarist lion seem to stand up and roar. The very astringency of the proletariat form seemed to bare, as in any stylized form, the sinews of the artist's mind. It is Eisenstein himself, finally, who is the hero of this "drama without a hero...