Word: raymonde
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...embargo of high technology exports. Some see this reluctance to offend the Soviets as the start of Finlandization, a term derived from the fact that Finland is so thoroughly intimidated by the neighboring Soviets that it dares take no action that might offend them. In the opinion of Raymond Aron, a leading French political analyst, the process has already begun in Europe. Says Aron: "Finlandization starts in the mind. If a nation acts powerless and terrified, that's called Finlandization...
Despite the communication problem, coach Peter Raymond said he did not consider losing to MIT a fluke, especially because the aggressive Engineers lost to Yale's defending Eastern Sprints championship team by a mere .2 seconds last week...
MALFI DOESN't EXIST in this production of The Duchess of Malfi. The turgid program note warns that Webster's seventeenth-century tragedy is a "waking dream." An empty lavender platform represents the ducal palace of Malfi; in Laura Shiels and Cynthia Raymond's stylized production, this psychological drama could take place anywhere or anytime within one's imagination. Shiels and Raymond interpolate dance and mime into the story to indicate the tensions beneath the Renaissance rhetoric. A veil hangs at the back of the stage, behind which a "Duchess of Imagination" flirts while the real Duchess in front disclaims...
...cruelest, if most honest, of the three villains if Ferdinand, the Duchess' other brother. Shiels and Raymond have gambled heavily here, casting a woman, Kate Levin, as the lustful Ferdinand, but their bet pays off. Ferdinand is passionately in love with his own sister: Levin's casting makes incest all the more unsettling. Insanely jealous of his sister's husband, Ferdinand destroys his sister rather than see her happy with a man he thinks unworthy of her. Unlike Cort and Sands, Levin moves awkwardly--on purpose. Ferdinand struggles against an over-whelming passion, giving in to impulse and then regretting...
...dance and mime does not fully compensate for the narrowness of Shiels and Raymond's interpretation. Regarded merely as a nightmare, The Duchess of Malfi loses coherence and power. Though Shiels and Raymond have taken great liberties with the play--the plot is so tightly constructed that it survives. Horror after horror piles up and our interest never flags. Nevertheless, we don't believe in what happens. Bendheim's is the only performance approaching credibility. By removing The Duchess of Malfi from a gossip-ridden palace and situating it in the dark recesses of the mind, Shiels and Raymond have...