Word: reals
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...classical and contemporary composers. Grubinger’s musicians played together on stage against a backdrop of flashing animation created by VJ software, the same kind used in today’s nightclubs and bars. Enormous multi-colored shapes and lines streamed across the screen, all created in real-time by Hagebölling’s students as a visual response to Grubingers’ musical selections. The mood created by these animations was explosive—the popping lights of the final piece transported the viewers from the concert hall to the heart of a dance club...
...some extent, the hilariously disparate body types of Gervais, Merchant, and Pilkington lend themselves to caricature. They are a strange tableau: the lumbering six-foot-seven Merchant, the squat Gervais, the round-headed Pilkington. Most reviews liken Gervais’s avatar to Fred Flintstone, but I believe the real similarity here is to Comedy Central’s mercifully short-lived “Shorties Watchin’ Shorties” (you know a show’s good when its title prescriptively drops the gerund “g”), which animated clips of stand-up comedy...
Moreover, Leyht is suspicious of art’s ability to communicate real understanding of the hardship of labor. While a play may help instill a new respect for workers, it cannot teach the audience what it is like to perform backbreaking work. That cannot be understood from a seat in a theater—or at least, Lehyt would not think so. “Art cannot directly address these things in any way that his helpful,” he says. “There is action and there is art. Art is about thinking about things...
...Working”, on the other hand, is based entirely on the people performing labor. The agents of the work sing and dance and carry the plot; the people matter. Indeed, real people are the foundation for “Working.” Schwartz and Faso based the musical on “Working: People Talk About What They Do All Day and How They Feel About What They Do,” a book of interviews published in 1974 by Louis “Studs” Terkel. The compilation aimed to highlight how real-life workers found...
...students wearing the borrowed HUCTW uniforms, there seems to be an implicit assumption that their professional roles in the play will not actually be their professional post in real life. Arthur R. Bartolozzi ’12, who plays the CEO in the show, said that “most people are really shitty things they won’t be [when they get older...