Word: stage
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Dates: during 1940-1949
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Koerner's work, too, is theatrical. He illuminates almost every scene with the pitiless white glare of stage lighting-never sunlight or moonlight-and his actors move and speak with exaggerated force. These devices, skillfully employed, make Koerner's paintings more arresting than those of such established U.S. realists as Philip Evergood and Ben Shahn. But they are not enough to explain his disturbing power. Koerner's storytelling art is one of implication, and its very theatricalism serves to imply that the "real" world which man has made is equally a fabric of illusions...
...stage, the beefy Wagnerian gods of Gotterdämmerung snorted and bellowed in their Valhalla. In the wings, a huge Siegfried, mounted on a ladder, sagged his 230 Ibs. down onto waiting shoulders to be borne on stage. "I'm getting too fat for this," grumbled hefty Heldentenor Lauritz Melchior. A warrior-god charged into musty corners, looking for his sword; bored spear carriers fumbled through a prop basket full of hunting horns. Behind the backdrop a ragged army of stagehands lounged on the rocks of the Rhine (out of use for the moment), gulping coffee from paper cartons...
Though no one in the red plush seats out front knew it, there was also hammering, hurrying and rehearsing going on all over the block-square Metropolitan Opera House. High above Valhalla, craning for an occasional amused glance at the tiny gods on stage below, painters swashed away at new scenery of an English fishing village. In rehearsal rooms, catacombed through the six-story building, singers agonized over the strange notes of a new score. On a rooftop stage, conductors and stage directors exhorted another cast fully as large and glamorous as the one before the audience...
...rehearsal for the London première of Peter Grimes, Composer Britten was all over the stage, his enthusiasm overcoming his shyness, begging his singers to act their parts instead of grimacing and posturing. There were few in the Met's cast who didn't realize what they were up against. Soprano Regina Resnik is a Britten veteran: she had sung in his Rape of Lucretia in Chicago last year (TIME, June 9). But Tenor Frederick Jagel, who sings the leading role, was worried: "This is so tough dramatically that it becomes tough musically...
Detectives had been checking on the man for several weeks before a tip came in that he had returned from a hurried out-of-town trip, thus setting the stage for the combined police action. The suspect surrendered in his room without a struggle...