Word: static
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Dates: during 1970-1979
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...carries a motorcycle helmet to fend off the huge hailstones that often accompany a tornado, but the only thing he admits fearing is lightning: "There's no rhyme or reason to it." Now he turns up the AM radio and rotates the tuner, listening for the pop of static that reveals the presence of lightning in the billowing clouds overhead. There is none...
...quite effective. The set, a bare stage and a series of simple backdrops, is perfectly adequate as a frame for the Who's work. Some of the tableaux used by Drury early in the show are starkly evocative of the emotions of Tommy's early life. But the static presentation at the beginning of the show becomes boring. After more characters appear on stage, the drama becomes complicated enough to demand some movement on stage beyond that of a chorus wheeling in straight lines, or squatting, then standing, in unison...
...because we are under the misapprehension that it is actually health food. The harm it does is hidden from us for years, like that of environmental carcinogens. We do not connect the workings of these intellectual pollutants with those strange buzzings in our brains?that erratically sounding, endlessly distracting static that prevents contemporary men and women from hearing one another's voices clearly, and therefore from making the connections they desperately need. The deftness with which Allen exfoliates failing and failed relationships, the delicacy with which he demonstrates how broad cultural collapse influences personal deficiency, the balance he strikes between...
...number, like all the rest, is infectuously buoyant. The camera unerringly swoons and follows the gliding choreography by Twyla Tharp: the film's greatest asset. Avoiding cute, stagey, Broadway production-type dance, Twyla Tharp has given new hope to musical choreography. The movements flow naturally; instead of watching a static dance number, we are taken by the camera into the movements, intrinsically swaying with them...
...history through the lens of other media-books, photos, snatches from film and similar "raw" sources-combined in a kind of painted collage, the visual equivalent of spinning the radio dial and hearing snatches of different broadcasts on different wavelengths punctuated by silence and bursts of static. The work responds to an edgy sensibility: Europe of the '20s and '30s, and Northern Europe at that, the dictators' playground. When the Mediterranean world appears, it is not the, sumptuous place imagined by Matisse or Picasso, but either Catalonia or the seedier Levantine environment of Cavafy's Alexandria...