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...always seems to have thought of it as a marvelous spectacle that he, as a foreigner, was privileged to behold. "Questo giovane ha una furia del diavolo," remarked Marino, introducing him to one Roman patron -- This young man has the fury of a devil. Furia didn't simply mean rage; it suggested a state of inspiration, of contact with primeval forces that lie below the surface of culture -- the war god's frenzy, the satyr's beastliness, the erotic abandon of the maenad...

Author: /time Magazine | Title: ART: Decorum and Fury | 12/5/1994 | See Source »

...this case, the plaintiffs are trying to show that Lilly knew that some patients became suicidal or agitated during clinical trials. Lilly lawyers will argue that Wesbecker's was not a sudden, Prozac-induced rage but rather a carefully plotted attack, and that the plaintiffs' claim lacks scientific merit...

Author: /time Magazine | Title: Did Prozac Make Him Do It? | 11/28/1994 | See Source »

...play's climax, Jabe, in a jealous rage, tries to kill Val and inadvertently shoots his wife. Making what Flannery O'Connor calls "a good case for distortion," the scene risks appearing ridiculously melodramatic to modern viewers...

Author: By Daley C. Haggar, | Title: Powerful Orpheus Descending Gets Down | 11/17/1994 | See Source »

...parents from the President on down couldn't turn their eyes away -- had not felt the sleep-depriving, soul-splitting pressures of parenting and worried about their own capacity for violence? But this was not the typical child murder, the experts rushed to explain, not an outburst of uncontrollable rage turned accidentally fatal. This was cold calculation. Parents who began the week trying to explain to their own children about Stranger Danger ended it having to explain something far scarier...

Author: /time Magazine | Title: Death and Deceit | 11/14/1994 | See Source »

...slowly. The elegance and pain in his work need to be discovered gradually, like the bruised beauty of a sunset. These actors do get the shouting scenes right; their abrupt, strangulated outbursts are appropriate to people who have been bred to optimism and implosion, not to the articulation of rage. And Van Dyck finds wit and poignancy in her several roles. She often has the taut stillness of a woman listening for catastrophe. But the rest of the cast often pushes too hard. Any overacting brutalizes Cheever's prose; mugging is the artistic equivalent of a mugging...

Author: /time Magazine | Title: THEATER: True Minds That Don't Meet A.R. | 10/17/1994 | See Source »

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