Word: smoothness
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Dates: during 1950-1959
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...strobe light, whipped their bodies into angles few Western dancers would even attempt. In Polyanka (The Meadow), files of dancers snaked across the stage in a sinuous blur of speed, hurled past one another in a complex tracery. Partisans had the black-cloaked dancers gliding in roller-smooth imitation of horsemen on patrol; Soccer sent them cartwheeling in comic, splay-fingered lunges for an imaginary ball...
...result is a series of thin marble cutouts, rubbed pebble-smooth, that sometimes suggest chic mannequin sil houettes, and sometimes ancient Gaulish coins. Hajdu also produces metal bas-reliefs, which he calls "orchestrations of light and shade," that bring to mind the pulsations of a Spanish dance or the interlocking vapor trails of high-flying jets. At best they reflect the inspiration he found in the art of ancient Mesopotamia, to create a world "real in facts but invented in forms...
...discover what the U.S. would want in an American-built small car-just in case. Findings: the average U.S. auto buyer is ready to invest in a U.S. small car, but he is unwilling to give up the accustomed miracles of Detroit engineering. He wants automatic transmission, power steering, smooth, American-type riding qualities, plenty of gadgets, loads of interior and luggage space and lots of horsepower. In effect, the desire is for everything the U.S. car already is, only 10 ft. shorter, and somehow a lot cheaper. In any case, a U.S. model would probably be a "compact...
...years ago, said Astronomer Gerard Kuiper of Yerkes Observatory. In those days, Kuiper told the astronauts at Denver, the moon's interior was kept liquid by radioactivity, so any disturbance, such as a large meteor impact, was likely to cause an upwelling of lava. Kuiper thinks that smooth places on the maria will make firm landing spots for earth's spaceships...
Camera is a skillful, carefully constructed, modern realistic comedy: not the sort of play which gives tremendous scope for a director to exhibit his virtuosity. Jean-Claude van Itallie has not tried any tricks, but he has kept the production moving with smooth skill through John Beck's lavishly shabby set. Joseph Raposo's music borrows its manner and some of its substance from Kurt Weill, and like almost everything else about this production, it is just right...