Word: statics
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Dates: during 1960-1969
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Billy Jim Layton's String Quartet in Two Movements is a more complex and venturesome work. Moevs's lines are always aware of their direction; Layton's stab this way and that and hover with despairing trills and tremulos through long, stirring passages of static progression. The brutality of the quartet's chords and textures is not only searing but tormented: their writhing raises questions quite beyond Moevs's solid ideas. To call this powerful expression "romantic" is meaningless; only the term introspection recognizes the heaviness of the music's human implications...
...together, when Greenbaum seemed woefully undeserving of his title. Take for example the whole first act. Maggie delivers a long, repetitive monologue to her husband Brick, played stolidly by Stephen Gelbach. She has the stage and the script all to herself for nearly a half hour, and what a static thirty minutes it is. Greenbaum might as well not have blocked it at all. Maybe he didn't. And that wouldn't have been because he spent so much time working on the second act either...
...unnecessary to follow every movement or watch constantly, just as it was unnecessary to listen carefully to John Cage's accompaniment of electronic whines, buzzes, piercing, shrieking tones, and cacophonous static. The endless, disjunctive movements and music discouraged close attention: without looking, without listening, one knew that it would be more of same, more of same. Variety at random is just plain dull...
...Against this dismal pattern the magazine holds a genuinely impressive tract, the introduction to the Secretary General's Annual Report. The product of the late Dag Hammarskold's lucid mind, it describes concepts of the U.N. as a "static conference for resolving conflicts of interest and ideologies" (the Wiley view) or as an organization able to play an effective role in the world through executive action. The only pity of it is that it ends so suddenly...
Some of the young people are delicate and handsome; others, done by less gifted artists, are flat and static. The most unusual figure is of a youth lying on his back. The lines of this statue are softer and more classical than those of the others, but all the statues give new evidence of the closeness of Etruscan to Roman art. Says Professor Mario Moretti, regent of the Villa Giulia: "It's very hard to say at this point where Etruscan art ends and Roman Republican art begins...