Word: scene
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Dates: during 1950-1959
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Observers of the Harvard scene who like to think that Harvard really is not so corrupt as some people believe sighed happily at Newsweek's discovery two years ago that the College was undergoing a "religious renascence." Since President Pusey arrived, resolved to prevent the Divinity School from going under, it has been generally conceded that "atheistic" Harvard was returning to the Established Way either through traditional faith or intense intellectual inquiry, and that the future of American religious groups, with Harvard men among their leading lay enthusiasts, was indeed bright...
...certain number of his congregants. Still, in some way Harvard men are more uniform than they pretend to be, and in their very refusal to be catalogued one finds a conformism to a Nietzschean standard of merciless analysis and criticism. Nevertheless, we shall attempt to analyze the Harvard religious scene on the basis of these questionnaires, of discussions with local ministers, and of individual observation...
...traversal of the sleepwalking scene proved to be highly controversial. Miss McKenna injected a lot of agitation into it and pitched it high--an approach that drew the fire of some of the critics in the daily press. These evidently conceive of somnambulism as always graceful, and of somniloquy as exclusively a lyrical, if not whispered nocturne. This is, to be sure, the customary way of doing the scene; but Miss McKenna's way was valid and convincing, too. Her critics should have remembered that one can do violent things in one's sleep; and that Lady Macbeth's mind...
...20th century." An uncut performance would last eight hours, and most directors simply throw out the lengthy "Don Juan in Hell" interlude, which is the most brilliant four-way conversation ever written. Kilty's skillful blue-penciling enabled him to retain about an hour of the Hell scene, which makes the last act more meaningful since it refers to the infernal dialogue specifically...
...presented a movingly stylized and austere show, using Gilbert Murray's not too satisfactory translation (Yeats' is no better; there is still need for a truly actable translation). Barry Morse, whose forte is high comedy, made an admirable Oedipus, but he could not plumb the depths of his final scene. Sydney Sturgess was badly miscast as Jocasta; but Ellis Rabb acted as cathartic a Tiresias as one is ever likely to see. The corporate delivery of the Chorus of Elders lacked rhythmic precision...