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Word: rhythm (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

...first thing I learned," he says, "is that the exigent speak poetry. They do not speak the language of newspapers." He soon became backstage-struck and signed on as busboy at the Second City, Chicago's famous improvisational company. "It was a superb, superb training ground, and their rhythm-the rhythm of action, the rhythm of speech-influences the way I write...

Author: /time Magazine | Title: The Theater: David Mamet's Bond of Futility | 2/28/1977 | See Source »

...sings, oh Lord, with a rowdy spin of styles - country, rhythm and blues, rock, reggae, torchy ballad - fused by a rare and rambling voice that calls up visions of loss, then jiggles the glands of possibility. The gutty voice drives, lilts, licks slyly at decency, riffs off Ella, transmogrifies Dolly Parton, all the while wailing with the guitars, strong and solid as God's garage floor. A man listens and thinks "Oh my, yes," and a woman thinks, perhaps, "Ah, well...

Author: /time Magazine | Title: Linda Down the Wind | 2/28/1977 | See Source »

...revelation of the most simple thing: gesture, subsumed by rhythm, becomes dance. Dean makes use of a steady pulse to cohere a broad range of movement qualities, sharp and sustained, weighty and light, and movement styles--ballet and tap are two she uses...

Author: By Susan A.manning, | Title: Translating Feeling Into Movement | 2/23/1977 | See Source »

...wife (Ellen Burstyn), his bastard progeny (David Warner) and his own dead wife (Elaine Stritch) around a mythical country. His vision of his dear ones is, to say the least, misanthropic. They are cold, loveless creatures, incapable of responding to one another except by lobbing epigrams, Wildean in rhythm but not in wit, back and forth...

Author: /time Magazine | Title: Cinema: Night Thoughts | 2/21/1977 | See Source »

...performer defines a sphere of his own. In this latter section there are deliberate breaks in the monotone of the first half. The dancers step unexpectedly out of one persona and into another. The motifs from the first section continue--rounds of stamping and shuffling in place of musical rhythm, and repetitive actions with time-measures of their own. Yet in the second half these movements take on more incisive implications, an edge of irony. Here gesture approaches metaphor while retaining its interest as abstract action...

Author: By Susan A. Manning, | Title: Lubovitch at the Loeb, Soll, and New England Dinosaur | 2/10/1977 | See Source »

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