Word: shadowing
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Dates: during 1930-1939
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Uncle Dan. To the general excitement and enthusiasm in Washington was added the voice of Secretary of Commerce "Uncle Dan" Roper. Recession psychology, said he, had now become "a shadow of its former self." Forgetting the President's metaphor and mixing his own still further, he added: "Economic skies are definitely clearing...
...trend toward mysticism, which expressed itself in three smash hits (Our Town, Shadow and Substance, On Borrowed Time) as well as in some lesser fry. But all these plays, warmed by humor or pricked by wit, were far removed from the solemn fudge of the Servant in the House era, made neither God nor Death embarrassing. On Borrowed Time, though pleasant, was very likely the most overrated play of the season. But Our Town (the Pulitzer Prize play), despite a third act which got beyond its depth, squeezed so much honest feeling, poetry and humor into its first two acts...
...shivered, for the chimney cast a long shadow over him and an evening breeze was already ruffling the Charles. Slipping on some trousers and bundling his blanket, he crawled along the sharp ridge over to a gable window. He felt indescribably exuberant, for in three weeks he would be on his way to the mountains...
...Spencer's The Greatest Show on Earth, a collection of photographs illustrating economic laws; the reviewer was baldish, bearded Critic Ernest Boyd. In a milky, translucent square of light in the television receiving apparatus, the audience could make out the figure of Critic Boyd, his features hidden in shadows, as he faced some indistinguishable framed object on the studio wall and began his review by exclaiming nervously, "Ah, Johann Gutenberg!" Intermittently photographs from the book were flashed on the screen: pictures of the unemployed, of banks, of labor-saving machinery. Some were clear, some blurred, a few merely smears...
...Shadow to Shakespeare. Shoemaker to Shaw-all in one season-might be a whole career for most men, but for Welles it is only Springboard to Success. Nor does he want the Mercury to pin all its faith on the classics: he pines to do a real mystery, a real farce, a British pantomime, a fast revue, a Mozart opera. He has shown in Heartbreak House, with its careful, elegant sets by John Koenig, that the sceneryless stage of Julius Caesar and The Cradle Will Rock was not the fetish of a flash in the Pantheon, but simply a well...