Word: surrealistically
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Dates: during 1980-1989
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...modern literature; he criticizes the excesses of his anarchist comrades in the Spanish Civil War; he expresses relief in the waning of his sexual desire ("It's as if I've finally been relieved of a tyrannical burden"). It would seem that the only way the old surrealist can shock today's audience is by exposing himself as a discreetly charming gentleman...
Motherwell has never used collage as a means of surrealist shock treatment. His work sits squarely in the formal tradition of early Braque, not in the poetic irrationality of Ernst. But its play between form and meaning is no accident. The "found" element in Unglueckliche Liebe (Unhappy Love), 1974, is a fragment of sheet music whose words apostrophize the miseries of passion: "Begone, begone, ye children of Melancholy!" But set on its dark ground, with a rectangle of slaty blue and a marvelous, soaring shape of white paper-Mallarme's swan, making a personal appearance-its stilted sentiment turns...
DIED. Luis Buñuel, 83, Spanish film maker considered one of the cinema's greatest artists; of bile duct disease; in Mexico City. Son of wealthy, religious parents, Buñuel and his friend Salvador Dali transfigured their fantasies in 1929 into one of the first surrealist films, Un Chien Andalou (An Andalusian Dog), a work of bizarre images including a man slashing a woman's eyeball with a razor. In 1930, L'Age d'Or (The Golden Age), with its brutal attacks on Roman Catholicism and bourgeois morality, established the ideological foundation for most...
...them what the show was, what made it unique, and you get a jumble of answers and impressions. From Alda: "The audience made a pact with us. We could be as imaginative and exploratory as we wanted-black-and-white newsreel style for 'The Interview,' surrealist in 'Dreams,' shooting in actual time or covering a whole year in one episode-because they knew we would never be wanton with them." From Morgan, a veteran of eight TV series: "M*A*S*H was about helping people." From Stiers: "There was always laughter on the set. Maybe...
Some scenes have the bizarre beauty of surrealist painting, and all are skillfully crafted. The final glimpse, in which the 'symbolic children,' donning bowler hats and other adult clothes prance to a sentimental tune played on the familiar piano, haunts as a danse macabre. But even if a metaphor superimposed upon another should create an interesting metaphor for the ever-central void, the concept cannot sustain interest for all that long. Whatever its merits, the piece is likelier to clicit a perturbed yawn than a leap of any sort...