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...Scratch a photojournalist and you will find a reporter who wields a camera instead of a typewriter. Eternity in a moment, information plus aesthetics. These are the obsessions, and in time of war, the obsessions are intensified. But suppose they gave a war and no photojournalists were invited; a war in which the only war pictures may be some chance shots caught by amateurs...

Author: /time Magazine | Title: A Letter From The Publisher: May 17, 1982 | 5/17/1982 | See Source »

...trees. In trashing the SALT process, Reagan is also setting an unhealthy precedent. No long-term, step-by-step arms control or reduction is going to take place if every administration wipes out the progress that has preceded it and spends a year-and-a-half to start from scratch...

Author: By James G. Hershberg, | Title: A False START? | 5/13/1982 | See Source »

...running start. Well, the mud might be a foot deep and the ruts two feet deep. Their wheels get cross-rutted, and the mud just drags off their muffler and shoots them across the road into the bushes. It's very interesting to see people scratch their heads and try to figure it out. Some just abandon their cars and start walking. Especially if they are in the mud over the door handles...

Author: /time Magazine | Title: In Vermont: Mind over Mud | 5/10/1982 | See Source »

...dentist's office. "I used to ask him to turn off the wallpaper music," he says. "But then I started listening." Banality has never been as vibrant as it is under his direction. In black costumes with veils, designed by Artist Alex Katz, dancers stare into space, scratch, arrange hips and arms into poses of boredom, with hilarious bursts of writhing impatience. The work is also an in-joke: the choreographer has put evening clothes on normal street gestures. In his treatment of walking, standing and running-staples of the form-Taylor is like Henry Higgins remodeling Eliza Doolittle...

Author: /time Magazine | Title: Dance: The Tolkien of Choreographers | 5/3/1982 | See Source »

Alice Brown has gone and made life even tougher for Gilbert and Sullivan traditionalists in her astonishing production of The Gondoliers at the Agassiz Theater. Brown has approached Gilbert and Sullivan's last great collaborative effort completely from scratch, as if she had never seen or heard about its traditional staging. No director of Gilbert and Sullivan, to this longtime fan's recollection, has ever quite ignored the D'Oyly Carte orthodoxy the way Brown has. Wilford Leach, in his successful Broadway production of The Pirates of Penzance updated G & S conventions in many ways and even overthrew them...

Author: By Michael W. Miller, | Title: Venetian Treat | 4/21/1982 | See Source »

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