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...CHARACTERIZE my play I had to use a neologism," Apollinaire remarked in his preface to The Breasts of Tiresias, "so I coined the adjective surrealist...When man wanted to imitate a walk," he added by way of definition, "he made the wheel, which does not resemble a leg. Thus he created surrealism without knowing...

Author: By Seth M. Kupferberg, | Title: Make Babies Now | 3/14/1973 | See Source »

...fathers of modern art, having outlasted most of his progeny. Dada and Surrealism, the movements that he helped fertilize, are now ticketed and labeled. Their revolutionary ambitions have been reduced to connoisseurship and slipped into the museum. Most of Ernst's allies in the Surrealist adventure are dead...

Author: /time Magazine | Title: Art: The Inexhaustible Max | 3/5/1973 | See Source »

...Ernst continues, and he eludes the categories. Five years before Pollock, he dripped paint on a canvas from a swinging can. Long after Surrealism died as a movement, he preserved the fresh poetry of the Surrealist dialogue between images. He is the master of invoked accident and controlled chance, and he still paints as if the world could be directed-if not quite controlled-by a nudge of complicity...

Author: /time Magazine | Title: Art: The Inexhaustible Max | 3/5/1973 | See Source »

Green Julia is a Rorschach-test play and an awfully good one. It is the first full-length drama by Britain's Paul Ableman, 45, who has previously written three novels and some 50 abstract and surrealist playlets. Like most plays of this sort, Green Julia is low on action and high on intensity of situation. The only characters that the audience sees are Robert Lacey, a young plant physiologist, and Jacob Perew, a young economist. For some time, Perew (John Pleshette) and Lacey (Fred Grandy) have shared a flat in an English university town. They also share...

Author: /time Magazine | Title: The Theater: Teaser for Two | 2/19/1973 | See Source »

...MOOD is one of distance, quiet, and mystery. Characters walk alone through courtyards edged by arcades shadowing old men, scenes recalling the surrealist architectures of De Chirico's paintings, or through landscapes of over-powering perspective: maize fields that extend to the horizon, forests so carefully cultivated that their trunks establish a sort of grid sweeping off behind the actors. Against such backdrops, human figures appear tiny, lost, joined together only be sweeping pans or long, fluid tracking shots. Narrower perspectives guide the eye: corridors that open out of a stuccoed wall, an avenue of tall poplars leading...

Author: By Phil Patton, | Title: Skill and Stratagem | 2/14/1973 | See Source »

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