Word: quests
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Dates: during 1960-1969
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...Belle Inertie. Unhappily, in the case of Moreau, the quest for ancestry gets a bit out of hand; his is a case in which a painter has been more ignored than unknown, since his work has long been embalmed in the musty, state-run Musée Gustave Moreau in Paris. Not until the Louvre, apparently at the instigation of Culture Minister André Malraux, put on a big Moreau show last summer (TIME, July 21) was the general public suddenly informed that Moreau should be remembered not only as the brilliant teacher of Matisse and Rouault but also...
...Plus Godot. In view of its calculated mystifications, it may seem a trifle absurd to argue that this school of playwriting is seriously engaged in a radical criticism of the modern world and in a religious quest for the meaning of man. But in a provocative new book (The Theatre of the Absurd; Anchor Books; $1.45), Critic Martin Esslin argues just that and does it convincingly...
...abandoned the theater of the absurd for social protest, his isolation theme has been endlessly restated by the absurdists in terms of man's inability to communicate with, and relate to, his fellow man. In 1952, in Waiting for Godot, Samuel Beckett defined the assumption underlying the metaphysical quest of the theater of the absurd: the absence of God and the emptiness of God-bereft man. Beckett's theater is one of deep existential anguish: "The boredom of living is replaced by the suffering of being." Beckett's writing also contains an elegiac, apocalyptic note. The world...
Kean (book by Peter Stone; lyrics and music by Robert Wright and George Forrest) casts Alfred Drake in the role of Edmund Kean, the early 19th century Shakespearean tragic actor of Drury Lane fame. The hero pursues a nightlong quest for identity, and the theatergoer may wonder why the case was not turned over to Mr. Keene, Tracer of Lost Persons. This lavishly mounted, richly costumed wide-stage dramarama is the most elaborate fiasco of the new theater season...
...Milky Way? (by Karl Wittlinger) presents two actors playing twelve roles in a search for one man's identity. They never find it. Hal Holbrook (best known for his Mark Twain act) touchingly plays the hero, a childlike German veteran of World War II whose tormented self-quest has made him a patient in a mental institution. George Voskovec plays his psychiatrist and all other speaking roles in a virtuoso acting stint. In pursuit of "psychodramatic therapy," doctor and patient enact Holbrook's life until he winds up as a daredevil motorcyclist in an act called...