Word: spiritism
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Dates: during 1960-1969
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...spirit of the production manifested itself early. Romeo, when he was mooning over Roseline, twirled around in his cape like a little girl in a new party dress. Juliet on her first entrance seemed like the dark-haired ghost of Sandra Dee. Pristine unreality continued during their tete-a-tete at the Capulet's party. Warren Motley (Romeo) and Lori Heineman (Juliet) tossed out half sonnets as though they were inviting each other to milk and cookies. Not that they should have been bawdy. But they should have acted as if they were irresistably drawn to each other--otherwise there...
...congenial dining hall atmosphere into a proper stage. The use of an elaborate unit of limited flexibility benefits house theatre tremendously, even when it makes certain transformations impossible. The costumes demonstrate similar virtues: none are overlavish, all are colorful and consistent with the whole, and all show good period spirit. A surprising number of principals look handsome and easy in potentially difficult clothes...
...acquisitive society, things are the measure of all men. The moral of Edward Albee's latest play, Everything in the Garden, is that hell is possessions. In the rush to acquire status-bearing objects, his characters trample on love, decency and honor and are left in destitution of spirit. Garden is not so much a black as a tattletale-grey comedy. Based on a British play by the late Giles Cooper, Garden sometimes lapses into melodrama and implausibility, but it is Albee's most satisfying dramatic effort since Virginia Woolf...
...antithesis of Brecht. Ghelderode trusted in instinct; Brecht worshiped intellect. Brecht called for a didactic theater of ideology; Ghelderode scorned ideologies and celebrated the theater of magic, spectacle and mystery. He saw all men divided and torn on a Manichaean battleground of darkness and light, flesh and spirit, and he never lost his conviction that they danced at the end of fate's string. If his plays are sometimes episodic and full of antic despair, they also display the probing gallantry of quests. Ghelderode could say with his hero in Christophe Colomb: "Farewell, America, you were too easy...
...passion that swept a good part of the British upper classes at the time, when architects like Sir George Gilbert Scott and A.W.N. Pugin were creating hundreds of Neo-Gothic churches and restorations throughout England, and Sir Charles Barry was faking the medieval Houses of Parliament. For a generous spirit like Morris, it was an easy step from saying that life once was beautiful to believing that it could and should be beautiful again...