Word: skeletonic
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Dates: during 1950-1959
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...recently published Painter's Self-Portrait (Crown; $12.50), Rosenberg pays tribute to Cezanne, who shows nature's "very heart and skeleton; it has been these depths that I have sought, and seek, to penetrate." Yet he does not confuse himself with the master. Of his own pictures, says Rosenberg: "Whatever their fate, I am content. My landscapes are magic carpets on which I have flown from a world embittered by fear, hate and greed to regions of peace, joy and beauty. For which I humbly give thanks...
Since the script calls for only four actors (and uses only three of them most of the time), it is essential that each player be an accomplished "light comedian" if the frailty of the play's skeleton is not to show. An airy touch, good timing, and graceful movement are primary prerequisites...
...years ago an archaeological expedition mounted by the University of Pennsylvania, scratching the Gordian ground, broke through to tombs, closed up eight centuries before Christ. One contained the bones of Midas' line. Also found in the tombs were a four-poster bed (bearing a five-ft.-three-skeleton), inlaid screens and tables, riding gear, weapons and quantities of bronze objects, from giant caldrons ornamented with winged figures to enormously complex hairpins with concealed catches. Buried with a little prince were a vase in the shape of a goose and toy animals of great refinement...
...Much Ado is an uneven work; it shows Shakespeare at his strongest and at his weakest. The basic story deals with jealousy-inspired treachery--a serious theme the playwright would later return to in Othello and Cymbeline. But at this time, Shakespeare was just casting about for a convenient skeleton to flesh. The whole business of the tragic slandering and the ensuing deception he took from older sources, and clearly wasted little effort on; his treatment of them is decidedly thin. The greatness of the play lies in what Shakespeare himself invented: the dazzing comedy of Beatrice and Benedick...
...Hawaiian-born Abe Satoru and Missouri-born Carlus Dyer's Scintillation of Elements ($3,200) both vaguely recall nature in the form of tree or cactus. As sculpture, they aim to catch and diffuse light; at the same time they are as open and transparent as the skeleton skyscrapers or factories that modern man sees all about him. A sub division of the materials-first group is made up of those who derive their inspiration from the swirling intricacies of mathematical forms. Typical of these is the brass Column ($900) by Greek-born Stephanie Scuris, who assembles rods more...