Word: slaving
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Dates: during 2000-2009
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...years ago, while writing his script for Steven Spielberg's Amistad, he worked on an idea about gladiators as "commercialized idols, their endorsements on frescoes, chariots and jars of olive oil." When Scott was hired, he brought in John Logan (Any Given Sunday) to create Maximus' life as a slave and playwright William Nicholson (Shadowlands) for further character shadings...
...particularly enthusiastic he'd much rather occupy his time with a less stressful task, like tending crops, but he reluctantly agrees. Next thing he knows, Commodus has seized the throne and he's been condemned to die. Maximus is able to escape, but he winds up a slave in a rag-tag gladiator boot camp where the greatest thrill (aside from survival) is the chance to compete in the Coliseum. And that is exactly where Maximus, with thoughts of revenge dancing in his mind, is headed after he proves his worth on what essentially amounts to the minor league gladiator...
...fast-growing traffic in Chinese illegal immigrants is a modern-day kind of slave trade, harsh, uncertain and expensive--except there is freedom and opportunity at the end for those who survive it. Thousands of Chinese pay huge sums to cram into ramshackle ships and sealed containers in the hope of sneaking into the U.S. Rough estimates put the number at 10,000 for 1999. Some are caught--1,500 were repatriated last year--but most succeed in joining the estimated global tide of 275,000 illegals entering the U.S annually. A significant percentage also die trying. In January...
...they were making noble music. Swing boasted Duke Ellington, Earl Hines and Count Basie, the rarest of rarities--magnanimous men within a democracy. The same men were largely dependent on that democracy for their nobility. Within what other regime could the son of a coachman--the grandson of a slave!--become a duke...
...more interesting approach can be found in some of theater's most famous theoretical literature. French playwright and critic Antonin Artaud argues in his seminal work The Theater and its Double that the theater has too long been dominated by text, the director has too long been slave to the author. Theater is not literature, he argues, and it should not pay undue homage to the authority of written words. Theater is a unique set of experiences based fundamentally in space rather than letters. As such it has a visual language all its own, a language which cannot be notated...