Word: stage
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Dates: during 1960-1969
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...same time, that the verdict against me will be "guilty" is just as evident to me. I knew this beforehand, when I made up my mind to go to Red Square. Nothing has shaken these convictions, because I was positive that the employees of the KGB would stage a provocation against me. I know that what happened to me is the result of provocation...
Pity the poor drama critic, always the observer once removed, never the player on stage. And imagine the happy wonder of New York Times Critic Clive Barnes upon seeing a colleague not only participating but achieving greatness of sorts in the role. It happened while Barnes was covering Paradise Now, a Living Theater production designed (among other things) to break down the barriers between audience and actors. During the performance, the players strip down to what Barnes describes as "skimpy yet adequate bikini-like covering." Even before they did, the barrier broke. Up stood Fellow Critic Richard Schechner, editor...
...them veterans of years of tortured teaching in the city's ghetto schools. Mayor John Lindsay, wearing a yarmulke, was jeered and insulted in a Brooklyn synagogue by a teacher-dominated audience as he tried to explain his stand on the strike. Shanker himself was shouted off the stage at a Manhattan meeting by a highly vocal crowd of black parents, who called him a white racist...
...responsible for the transformation is Stage Director Frank Corsaro, 43, who believes that operatic tradition is often nothing more than a catalogue of yesterday's clichés. As he showed with his productions of La Traviata and Madama Butterfly, Corsaro is a determined spoiler when he confronts the creaking plots of traditional opera. If he wants to bring on familiar characters at unexpected moments, he does so. If he decides to invent minor characters, he does that...
Sneaky Monk. When City Opera General Director Julius Rudel asked Corsaro to stage Faust, he got a wild-eyed stare in return. "I loathed Faust," Corsaro admits. "In fact, I've started off by basically disliking every opera that I've done so far. They all seemed like such old salami." But as he began thinking about it, he became fascinated with the prospect of doing Faust as a grim Gothic tale in which sheer horror and grizzly humor intertwine. He decided to introduce Mephistopheles in different guises that would fit credibly into each scene. After materializing first...