Word: though
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Dates: during 1990-1999
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...Though the narrative is depicted with a bizarre sense of detachment, Rosetta becomes completely absorbing and engrossing. In particular, fascination evolves regarding the heroine's character. Where other directors might have tried to arouse sympathy and pathos through various devices, the Dardennes refuse to present her as a victim; conversely, she is the antithesis: proud, fearless and dynamic. The sole artifice employed to make us fall for Rosetta is by making her the sole significant locus of attention. In fact, in a performance truly remarkable for a woman of 17 (no less a film rookie), Emilie Duquenne, in the title...
Ivanov is a stunningly beautiful work of art. Though he was only 27 when it premiered, Ivanov shows all the subtlety and tenderness that would only grow in Anoton Chekov's later, more famous works. The new production of Ivanov now running at the American Repertory Theatre (A.R.T.) is also astonishingly gorgeous. Directed by Yuri Yeremin, one of Russia's most respected directors, the A.R.T. production unfolds like a visual symphony. Were the play acted in the original Russian, it would still be a joy to watch. Unfortunately, this beauty is the downfall of the A.R.T.'s Ivanov. The subtle...
...Noguchi's minimalist sets for the New York City Ballet. Add to that the light design of John Ambrosone, for whom no slant of light or subtlety of shading is unattainable, and the stoic formalism of Catherine Zuber's costumes, which make Chekov's rural social philosophers seem as though they could just melt into the landscape, and you have a two-hour-long painting on the stage. Yeremin's staging makes every use of this artistic ingenuity. His actors move more like dancers than farmers. Yeremin has a brilliant sense of space, horizontal and vertical. The simple...
...wife now dying of tuberculosis, sick of his entire milieu. He is bored with his very existence. The insight and sensitivity that Chekov shows for his characters and their problems comes across in whispers and unsaid words, in the meanings that we hide underneath meaningless social conventions. For Yeremin, though, Chekov's characters must be as grand and deliberate as the sets. Arliss Howard's Ivanov is endlessly and openly angst-ridden. He mopes around the stage so that we cannot help but notice his misery, strips to the waist and spreads his arms like Christ on the cross...
HASCS has thus been keeping tabs on the constant need for space. This year, though, "the growth curve was faster than we anticipated," Osterberg said...