Word: staging
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Dates: during 1960-1969
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...Cambridge housing situation was getting to the critical stage. Harvard revived its plans for Shady Hill, both to aid younger Faculty hard-pressed to pay local rents, and as a way to take at least a little demand off the local housing market. The plans were of the same order of magnitude as those of 1955-approximately 150 units of housing...
...approach to the theater as part of a fight everywhere for humanness. He sees what he does as linked with the sexual revolution, radical polities and drugs. He finds working in Cambridge important because the city represents the very rationality that is choking us. "What's happening on stage must always be alive. That's why we don't have rehearsals anymore. The show is a dramatic moment, whose components are actors and an audience involved in time and space by what happens on stage. When an improvisation goes badly, the audience feels as badly as we do. So that...
SOINSTEAD of rehearsing, the company plays games, goes on field trips, or reads strange magazines. Albert wants the actors to rediscover their own human-ness, and put it on stage. But he raises some questions about what is theatrically valid in the name of "life" and "humanity" and what is not: "One wants a theatre of bare ago. Not a theatre of id, which is what we're seeing today. For example, if one wants to see a prick on stage, one wants to see an creation. A limp phallus means nothing, and it's unattractive. And because of that...
Frost himself, both physically and professionally, is what you get when you cross a William F. Buckley Jr. with a Tommy Steele. He is a resourceful interrogator with a vaudevillian stage sense. More important, he has brought the talk show back toward its original purpose. As host, Frost asks questions that make sense, and actually listens to the answers. His guests are people worth hearing out-not just routine talk-show circuit riders plugging their latest movies and books...
...wagon is a square with four wheels. In Paint Your Wagon the wheels are Lee Marvin, Clint Eastwood, Jean Seberg and Harve Presnell. The square is Film Maker Joshua Logan, a successful stage director whose ponderous film adaptations (South Pacific, Fanny, Camelot) follow him like a string of mules...