Word: theater
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Dates: during 1960-1969
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EUGENE Indjic stepped jauntily onstage Tuesday evening at Sanders Theater and presented his musical credentials for the first time before a Harvard audience. The recital included works by Beethoven and Chopin that are among the most demanding in the standard piano repertoire, and local piano wonks had been worrying ever since the fiiers appeared on the house bulletin boards about where Indjic would get the strength to bring them all under control...
LEANING forward from his chair, Jorge Luis Borges focuses his nearly sightless eyes somewhere above the Sanders Theater ceiling. If the word charismatic can describe a man talking about the art of poetry, it describes Borges delivering the Charles Eliot Norton Lectures on "this craft of verse." Borges creates a personalized version of the same subtle magic which translates the readers of his "fictions" into a dream-context without their perceiving the change...
SINGING before a packed house at Sanders Theater Friday evening, the massed forces of the Harvard Glee Club and the Radcliffe Choral Society, under the direction of Elliot Forbes, unleashed a mighty force de frappe in a program calculated to drive the audience into an unholy frenzy. The first half featured delicate works by Elizabethans William Byrd and Thomas Tallis and neo-Elizabethan Benjamin Britten. But after intermission the choir was joined by the Harvard-Radcliffe Orchestra in a performance of Carl Orff's Carmina Burana, a bacchanale celebrating the headiest side of springtime...
...book's dust jacket notes that "most of Condon's other novels have been bought by H*ll*w**d." It is doubtful that The Ecstasy Business will ever see the dark of a movie theater. On the other hand, five years ago, who would have believed...
...hoary mist that has hung over productions of Chekhov spumed from Stanislavsky and the Moscow Art Theater: a distinctive technique marked by precise characterization, long pauses, distilled emotion, and tight pacing that presented the final pistol shots of an Ivanov or Seagull as the Q.E.D. of human tragedy, lucidly observed. In English-language productions, all this has been sustained by country-house diction supported by the characterological self-control necessary to maintain strong emotion over long sentences. These productions were, and are often powerful but they have two chronic diseases--boredom spawned by excessive refinement of speech and movement...