Word: shadowing
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Dates: during 1930-1939
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...White Steed (by Paul Vincent Carroll; produced by Eddie Dowling) is, thematically, much the same play as Carroll's Shadow and Substance. But it is a better play. Shadow and Substance leaned too heavily on portraiture; The White Steed also has plot. Shadow and Substance was enveloped in a cloud of mysticism; The White Steed shows the warm flesh of humanity. Shadow and Substance had too literary a finish; The White Steed is often combustibly dramatic...
...years, living in the slums himself, he taught slum children about "who discovered America and other such nonsense." He wrote plays which got a hearing at Dublin's famed Abbey Theatre, but brought in little income. England and Scotland ignored him. The U. S. success of Shadow and Substance last year gave Carroll his first independence, enabled him to quit teaching, buy an old country villa...
...dashed off Mosquitoes, was halfway through his third novel, Sartoris, when something happened. He was writing about his own country when suddenly "I discovered that writing was a mighty fine thing," he says; it enabled you "to make men stand on their hind legs and cast a shadow." Sartoris was rejected...
...shadow fell far beyond Germany's frontiers. Small, neighboring States (Denmark, Norway, Czecho-Slovakia, Lithuania, the Balkans, Luxembourg, The Netherlands) feared to offend him. In France Nazi pressure was in part responsible for some of the post-Munich anti-democratic decrees. Fascism had intervened openly in Spain, had fostered a revolt in Brazil, was covertly aiding revolutionary movements in Rumania, Hungary, Poland, Lithuania. In Finland a foreign minister had to resign under Nazi pressure. Throughout eastern Europe after Munich the trend was toward less freedom, more dictatorship. In the U. S. alone did democracy feel itself strong enough at year...
Basically nothing but enormous sheds, the main exposition buildings, stuccoed in "warm ivory" and unobtrusive pastel shades, owe much of their exoticism to "elephant towers," whose angles of light and shadow are softened by the Bay's hazy atmosphere. Mercifully softened also is the 400-foot Tower of the Sun, a nondescript steeple which serves to carry a 44-bell carillon. Last week San Francisco critics bore down hard on the Tower. Said Sculptor Beniamino Bufano: "It should have been a mosque or a minaret." Said Sculptor Ralph Stackpole: "The thing is up. What can you do about...