Word: staging
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Dates: during 1960-1969
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During the second stage, the child thinks about everything in terms of his own activities; he believes that the moon follows him around, or that dreams fly in through his window when he goes to bed. Erroneous though these ideas are, they help the child comprehend that actions have causes. In this period, the child is not egocentric by choice. Parents should understand, says the University of Rochester's David Elkind, a leading Piaget scholar, that intellectual immaturity and not moral perversity is the reason why a preschooler continues to pester his mother even after she plainly tells...
Without Actually Cheating) to the last (Golfmanship), can easily be absorbed at one sitting. In any of them, it is impossible to miss Potter's point: that anyone can triumph over all the pompous types who hog the center of the stage -the long-winded bore, the authority, the physician, the superior competitor. How? By using stratagems of such seeming innocence and such Machiavellian obliqueness that the victim scarcely knows he has been pinked. Thus one day, playing golf with a friend, Potter asked "a bit of a favor" on the third hole. But he delayed revealing what...
...disguise the fact that Thornton Wilder's Our Town was, is and always will be a humanities lecture with visual aids. The principal aids are the characters, who, ike the tables and chairs on the otherwise barren set, are deployed in a series of vignettes by the Stage Manager. His is the unenviable job of trying to be a Greek chorus to just folks. The lecture part of the play stresses the importance of the familiar things of life, and that each day should be savored as if it were the last. Essentially, Our Town says the same thing...
...Stage Manager, Henry Fonda establishes the play's underlying innocence with his copyrighted brand of casual intensity. Ed Begley and Mildred Natwick as Dr. and Mrs. Gibbs and John Randolph and Irene Tedrow as Editor and Mrs. Webb never falter in their roles as small-town New England caricatures circa 1910. Likewise, Elizabeth Hartman and Harvey Evans encounter little difficulty getting their portrayals of Emily and George from the soda fountain to the play's touching cemetery scene. Unfortunately, Miss Hartman bears the burden of having to ask: "Do any human beings ever realize life while they live...
...Stage Originals. Coward's characters are frequently mistaken for caricatures. Caricature goes to reality for a model, but Coward's people exist outside reality. They are stage originals. In this sense, the casting of Private Lives is just about perfect. Brian Bedford seems like a man who would be naked without his cigarette case, whose cigarettes, in fact, appear to be smoking him, as if he were an afterthought of his own props. Tammy Grimes seems not born of woman, but rather like a creature conjured up at a séance by some zany medium. She delivers...