Word: stage
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Dates: during 1960-1969
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...Vice President so far has not been able to shake the Johnson legacy or stake out his own position. Speaking in Los Angeles' south central ghetto last week, Humphrey was greeted with such deafening boos and shouts of "Honky, go home!" that he was forced off the stage. Though aides claimed that hecklers had been hired for the occasion, the truth still was that no more than 300 or 400 Los Angeles Negroes even bothered to come in the first place...
...South Viet Nam and assurances that the South Vietnamese can go their own way in freedom. These goals are so far apart that many would agree with the judgment of Edwin Reischauer, Asian scholar and diplomat, who says in Beyond Vietnam: "It is hard to envisage at this stage a negotiated settlement that is not virtually a surrender by one side or the other...
Cioran believes that Western civilization is today at a stage of helpless paralysis. Modern man, he writes, is aware that every action eventually negates itself, every profound idea will give rise to another refuting it, and that every revolution leads to inevitable counterrevolution. Even nihilism and atheism are false options, since they too involve a commitment that will eventually crumble. "At our limits a God appears, or something that serves his turn," says Cioran, who is at once an unbeliever and a profoundly religious man. "I fall back on God, if only out of a desire to trample my doubts...
...been obscured by the fact that, as a dutiful Communist, he knuckled under in the 1920s, when the Communists decided Socialist realism would be the only acceptable art form. While Gabo and Pevsner fled to the West, Tatlin ended his days in Russia as an obscure drafts man and stage designer, experimenting with Leonardo-like flying machines. (The Soviet government apparently still thinks so little of him that it refused to lend any work to the Stockholm show.) But in retrospect, argues the Modern Museum's Pontus Hulten, "Tatlin is emerging ever more clearly...
Dwarfing the actors as only the Loeb can do, making action seem remote and impersonal, Sebastian Melmoth's impressive but ugly set puts the Loeb one step closer to a kind of synthetheatre defeating the electricity theatre can generate between stage and audience. The set's colors are not so much terra cottas as flesh and, added to the admirable but arty lighting, the whole thing was weighted toward the ghastly...