Word: savantes
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...have often experimented with my assistants," says the savant in some puzzlement. "Using exactly the same elements, none of them has been able to create an original work." Nonetheless, in the U.S. and Europe, he has spawned a host of op disciples. He has also played spiritual begetter to a younger generation of kinetic "visual researchers," led by his son Yvaral, who apply his democratic principles to mechanized art. Moreover, at Grenoble his work is at last being integrated into a "consecrated modern city" in the form of a giant aluminum shield for a skating rink at the Winter Olympics...
...actors are plainly demoralized. Quinn, who plays a head-shaven Kublai Khan, just sort of sits there on his throne looking like Yul Brynner with a nasty case of jaundice. Welles, who plays a Venetian savant, is all dressed up to look like Leonardo da Vinci, but then he queers the pitch by muttering something about a navigational device he calls an "astrolobe." Horst Bucholz, who plays the acrobattling hero, obviously doesn't have the thighs for this sort of work, but he makes up for that with some of the niftiest karate ever seen in medieval Persia...
...admirers - who include editorial writers as well as music critics on many West German papers - excuse Felsenstein as a "fanatic genius" naively uninterested in anything that goes on outside the opera house. He yo-yos back and forth across Berlin, a social vegetable, a moral acrobat, an idiot-savant - and a genius of the opera...
...that the American Indian was something less than nature's nobleman, e.g., some tribes had a habit of roasting captured children alive. But O'Meara cannot get away from the fact that he just does not know enough about John Tanner, who is made to sound more savant than savage. Other private journals kept at Sault Ste. Marie indicate that the bedeviled Tanner eventually developed into a demented old man who finally disappeared while under suspicion of murder. Loyally, O'Meara does not think...
...alike by the provincial dreariness of Charleville and the tyranny of his mother. In a heavily underscored entry in his diary, he formulated his doctrine: the poet should be a revolutionary and antiChristian, a seer and a magician, "the great sufferer, the great criminal, the great damned-the supreme savant." This was to be achieved by "the systematic upheaval of all the senses." At 16, he fled to Paris...