Word: sara
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...committee will be headed by English professor Stephen J. Greenblatt. Other members include physics professor Melissa Franklin, rhetoric and oratory professor Jorie Graham, history of science professor Peter Galison, visual arts professor Alfred Guzzetti, Radcliffe fellow John Kelly, history of art and architecture professor Joseph Koerner, education professor Sara Lawrence-Lightfoot, visual and environmental studies professor Helen Mirra, art curator Helen Molesworth, African-American music professor Ingrid Monson, Graduate School of Design Dean Mohsen Mostafavi, landscape architecture professor Hashim Sarkis, dramatic arts lecturer Marcus Stern, and Humanities dean Diana Sorensen...
Nelson T. Greaves ’10, in particular, is hysterical as Erysichthon, a king who is punished by the god Demeter for cutting down a sacred tree. Demeter sics an excitingly creepy Hunger (Sara L. Wright ’09) on the king. As Wright quite literally clings to Greaves, his character descends into a starvation-induced madness, eating everything in sight and selling his mother into slavery when the money runs out. Erysichthon doesn’t think it’s so funny, of course, especially not the part where he eats his own foot...
...have a temper,” main characters Sara (Alterman) and David (Mogolov) both announce in their first lines. In the first scene, Sara immediately erupts into a rant about how she has inherited her explosive rage from her father. David proceeds to describe his own anger, so affected by his indifference towards life that even it is apathetic; the way in which he copes with his temper is to sleep. As the play progresses, the two trade off their storytelling in a series of anecdotes that involves Sara’s hatred of everyone she knows and David?...
...Sara, Alterman emanated a passionate and intimidating ferocity that, at times, verged on psychosis. While her yelling quickly became old, she effectively portrayed her character’s inner rage. Alterman’s performance was touching and powerful not because of how loud she could be, but because of the means by which she built tension between Sara and the audience. Alterman effectively revealed Sara’s cursing and screaming as an attempt to cope with her rape by a classmate ten years ago, and led us to understand how a minor character in one of Sara?...
...appeal of “Diptych” was based largely on the connection that Alterman and Mogolov maintained with the audience, and thus the set design was appropriate in its minimalism. The actors played not only Sara and David, but also other characters and even pretended to use props that were essential to their stories. These “props” were used well for comedic effect...