Word: tragical
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Dates: during 1960-1969
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...waste educational facilities on training dilettantes. To quote from the article, "in this age of increasingly necessary specialization a women's college may remain the only place where a true liberal arts education can survive." (Emphasis added.) Survive for what reason? The obsolescence of Wellesley's graduates is especially tragic in light of our current misallocation of national resources. Universities-if they do not train the majority of their students to deal directly with the needs of the society-are misallocating resources too. While college doors are still closed to the majority of our population, colleges like Wellesley somehow find...
...scrupulously contained performance, Rebecca Thompson's Hedda is remarkably affecting and finally tragic. In part, this is due to Ted van Griethuysen, whose deliberate gravity of direction achieves cumulative emotional intensity. Hedda moves inexorably toward tragedy in that her ultimate foe is not the world of mere men but what O'Neill called "the God of Things as They Are." She regards suicide as the perfect act of courage because it is her non serviam to that god, her defiance of human fate...
...might have otherwise led to a one-dimensional ego-trip production. There is thus no undirectional theme with all the characters a collective midwife to some zinging, overwhelming closing statement. Rather, the portrayals are loose and disjunct, and that serves finally to heighten the senselessness of the tragedy. The tragic climax is not the clear and unavoidable result of certain obvious flaws in the characters. In this sense the production, perhaps inadvertantly, denies the Greek therapy of tragic catharsis, but I think that's good because the notion that there can be "meaningful" or "uplifting" death in a non-political...
...Globe. Like Steinberg, Critic Gelles insists upon high musical standards. Four weeks ago in the Globe, Steinberg chided Carlo Maria Giulini, guest conductor of the Boston Symphony Orchestra. If Danny Kaye or Victor Borge had conducted "with such crazed dislocation of tempo and with such prodigality in expression of tragic suffering and deep knee-bends," wrote Steinberg, "the audience would have been in stitches." Two weeks ago in the Herald Traveler, Gelles remarked that Guest Conductor Seiji Ozawa "has shrunk from a lightweight with charm and real elegance to a conductor whose performances are technically inaccurate and emotionally indifferent...
This chronicle is often retrieved from corniness by touching moments and memories that allow young Lahr to mold humanity around the trite-tragic skeleton that his father's life seems to have been. For instance, there is Lahr as a budding vaudevillian putting makeup on his collar even when unemployed so everyone will know he is in show biz. One is touched by the physical fact that his left wrist was permanently larger than the right from breaking repeated pratfalls. And a fine moment comes when a wino outside the theater holds out a dollar saying "Here, Bert...