Word: speak
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Dates: during 1960-1969
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Matteo Calacocci was released in 1963, after 28 years in Bridgewater. And he was lucky. He was lucky, that is, if you compare his case to others who still remain in Bridgewater. The records speak for themselves: J.D., committed as incompetent to stand trial on May 1, 1935, still awaiting trial on a charge of simple assault and battery; W.K., committed February 11, 1951, still waiting to be tried for disturbing the peace; J.M., committed September 14, 1921, still awaiting trial for breaking and entering. These men and hundreds of others in similar positions at Bridgewater and at other state...
Samuel Lubell will not be able to speak as scheduled to the Kennedy Institute third parties study group today at the Winthrop House JCR. The study group will meet at its normal time, however...
...appropriate finale to the Norton Lecture series will be Borges' discussion of his own art. In the sixth and last lecture April 10, as he said at the end of the fifth, "I shall speak of a lesser poet whom I never read but whom I have to write. I shall speak of myself and you will have to forgive me this quite affectionate anticlimax...
Between Ivanov, Chekhov's first full-length play and first single-shot suicide, and Yepikhodov's unfulfilled promise to "shoot myself so to speak" in Chekhov's last play, something has obviously happened. Laurence Senelick, directing his own translation of Cherry Orchard, pays proper attention to the writer's final, bitter playfulness by mouthing a production that breaks through the somber fragilitv of traditional Chekhovian staging to a vital if slightly fuzzy theatricality...
Senelick's translation captures the three-part style of the play in its diction. The gentry speak standard Chekhov, Victorian dialect. The upwardly mobile Lopakhin (Ken Tigar), sweet, young Anya (Carolyn Firth) and occasional flunkeys speak a slangy, colloquial tongue, fresh and awkward; while a pod of surrounding actors, led by the shlemielesque "perennial student" Trofimov (Lloyd Schwartz), with his utopian panegyrics discoursed of Yepikhodov, talk a well-tuned language of parody and farce. None of the specific lines of the translation is, as they say, memorable--Senelick's staging eye works better than his ear--but they are smooth...