Word: robed
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Davis and costume designer Jan Stauffer team up, however, for this production's most striking effect, the tableau of Dracula embracing the Victorian heroine, while the folds of his black robes overlap the folds of her white ones, with which the first act ends. It makes the heroine's appearance in a long black robe for the second act as effective as it is inevitable. Stuart Sundlun's set and Bill Scherlis's lighting, by way of contrast, lack the menacing shadows demanded by the play, whose everyday aspects are quite apparent enough...
Arriving in Rome, the exiled leader of Tibet's Buddhists did just what the Romans do. Dressed in his official violet robe, the Dalai Lama went to see the Pope. His offerings: a portrait and his own biography of Buddha. In return Paul VI gave the Dalai Lama a pontifical medal and a book about his own trip to the Far East. The two parted beaming from a summit conference described by one Vatican watcher as "an encounter of the two Gospels," Christ's Sermon on the Mount and Buddha's Sermon on the Benares...
Test. In the manner of Harun al-Rashid, the Arab caliph who ruled Baghdad in the 8th century, Gaddafi sometimes disguises himself in Bedouin robes and roams the city at night to see if his people are behaving properly. One time he appeared at Tripoli's Central Hospital and, to test the institution's efficiency, pretended that his father desperately needed a doctor. When a Taiwanese medic blithely suggested that a few aspirin would suffice, Gaddafi stripped off his robe and denounced the doctor: "You will regret that decision all your life." The doctor was fired...
Spartan nude beneath the shimmer of a robe; her hair on end and her eyes bright in some dubious ecstasy. This is not she. The woman whirls, the short and tight black body glowing in red lights, and his eyes see the flame-dripping dagger. This is not she. He scratches in his sleep. Snorts, and is angry. Turns and is at rest...
John Getsinger '73 opened the series with a portfolio of photographs of Lowell, Mass. In the angle of his shots of Lowell townspeople--two muddy boys, a glowering tavern keeper with a criminal record, a girl still in her robe--the photographer's presence is implicit, but not intrusive. Getsinger's apparent intimacy with his subjects has enabled him to communicate their expressions and their relationships to their environment directly; his pictures lack the stiffness, posturing or distance which are hazards of this type of photography. The immediacy of Getsinger's photographs is further underlined by the prosaic, sometimes ironic...