Word: skies
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Dates: during 1950-1959
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...About the only people who ever had any serious objections to it were its chief occupants, Ambassador and Mrs. Ellsworth Bunker. Bunker, a man of conservative tastes, complained about the lacy grille that covered the great expanse of glass, plaintively said. "I want to see the blue sky." Mrs. Bunker, who not long ago began promoting long-handled brooms for Indian sweepers-and thus closely resembled the character in The Ugly American called "the woman who unbent the backs of our people"-had even more serious things to grumble about...
Even without a program, theatergoers would have had no trouble figuring out where they were. The scene was clearly the familiar slum section of Williamsburg, Tenn., with its long rows of dusty souls and crumbling emotions tilting crazily against a dusky sky. But there had been changes. In Period of Adjustment, which opened last week at Miami's Coconut Grove Playhouse, Playwright Tennessee Williams repaired no cracking masonry in his familiar dramatic neighborhood, but at least he slapped on a coat of whitewash...
...live in the forest where there are no people. I eat the pasarochllom seed. Wherever I see the pasarochllom seed, that is the thing I will eat a lot of. My coat appears like a cloud. My coat is white dotted like the clouds. My children appear like the sky. I live with my children in the forest. My children are very much crybabies if their mother leaves them. Thus cry my children: 'Cheb, cheb, cheb.' I sleep high in a tree. When it is late in the afternoon I sing thus: 'Snhocroro, schoncro, schoncro...
Your cover painting showing Pasternak's loosened red tie, the thorny forest surrounding the gaunt, weathered face, the serene and snowy hair rising through the turbulence of the stormy sky portray a picture of symbolic beauty. The smallness of the figure in the corner confronting the immense forest, and the craggy jutting power of Pasternak's face convey the esteem that both Artist Chapin and America feel for the unyielding integrity of this lone man who has profoundly shaken the complacency of East and West...
...Sky. To Felsenstein, opera is a highly seasoned slice of life; to Wallmann, it is musical pie-in-the-sky. East Berlin's Turandot, staged by Felsenstein Protégé Joachim Herz but supervised by the boss himself, stressed naturalistic stage effects, an infinite concern for dramatic detail, and acting of startling realism. The curtain rose on an iron grille stretched across the proscenium, representing the palace gate separating the chorus of rag-clad Chinese from the palace courtyard, where one of Turandot's unsuccessful suitors was about to be executed. The mob faced the audience...