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Compared with Webern, his fellow revolutionaries Schoenberg and Berg were vestigial romantics. They used Schoenberg's twelve-tone system to rework the old, large-scale forms of Wagner and Brahms. Webern used it to abolish those forms, along with the entire principle of elaboration and climax. He let his three-or four-note motives suggest their own, rather static structural implications through intricate counterpoint and variation-not development. ''Once stated,'' he said, ''the theme expresses all it has to say.'' By relating everything else to that theme, he attempted to achieve...

Author: /time Magazine | Title: Music: A Revolution in a Whisper | 11/5/1979 | See Source »

...source material has so many possibilities. But the inadequate direction and the ponderous songs sabotage a potentially enjoyable show. One can only hope that Lake and company will take the show back to the drawing board, eliminate the existentialism and the about an hour's worth of running time, rework the songs so they relate to the action, and trust more of the humor to Lewis Carroll. Student-written productions aren't expected to be masterpieces, but this one has killing flaws. Perhaps if it were revised it could be the entertaining show that it tries...

Author: By Joseph B. White, | Title: Failure in Matherland | 11/10/1978 | See Source »

...Pakula through the strains that were to develop after shooting began. Pakula is a painstaking director, capable of talking out a scene for hours before putting it in front of the camera. Then his habit is to insist on endless retakes, covering every nuance his actors develop as they rework a scene, giving himself every imaginable option once he takes the film into the cutting room. Redford is an actor who does not find a character through ratiocination or conversation, but rather by getting as quickly as possible into action and seeing where his instincts lead him. He also fears...

Author: /time Magazine | Title: Cinema: Watergate on Film | 3/29/1976 | See Source »

...applies to people who have a need to master the trauma of the past," explains Dr. Robert Reich, director of psychiatry for New York City's department of social services, who works with the thousands of homeless men who crowd the Bowery year after year. "These people constantly rework their past life; many of them lived through the Depression and never really recovered. They are always watching and waiting for the next." A few Bowery bums actually have money, but "are unable to stand the thought of spending it. If we were to find ourselves in another depression, this...

Author: /time Magazine | Title: Behavior: Depression Fever | 1/20/1975 | See Source »

...Best Friend" (his first musical--based on "Androcles and the Lion") in a month. Today, Rubins is conscious of everything he's heard before. He says he doesn't want to reproduce other works. "When I hear even three notes that are a familiar figure, I try to rework them...

Author: By Michiko Kakutani, | Title: What's on Josh Rubins's Mind? | 7/12/1974 | See Source »

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