Word: understanding
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Dates: during 2000-2009
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Well, we are now to believe that Sue fought in the 1982 Falklands War where she learned how to radio in the coordinates of conspicuous snipers. So there’s that. Also she really doesn’t understand how interviews work. Or auditions for that matter: Figgins orders her to hold open auditions for Quinn’s former position, and Sue is merciless to the awkward prospects. New character Becky Jackson – a Cheerio-idolizing girl with Down Syndrome and zero coordination – wins out, arousing Will’s suspicions, to which...
...understand why, once I reached you, all I wanted was a sling for my arm and some stitches for my head. Instead, you gave me a heavy dose of disdain and blame. You openly doubted my story of injuring myself while dancing, even after I told both a nurse and doctor that I had congenitally loose shoulder joints. You looked at me skeptically when I explained how I fell. You asked if I had been drinking, and when I admitted that I had, you rudely thrust a Breathalyzer into my face to register my BAC. At somewhere between...
...wouldn’t make a fuss about this, UHS, if I felt that this treatment was a unique situation. It’s not that I’m singling out the first doctor as malevolent. I understand she was just stressed out, overworked, tired. But you are staffed with academics like her who did not sign on for this, who prefer the low-simmer stress of the classroom to the adrenaline spikes of the emergency room. They are wonderful when it comes to the quotidian checkups that most of us use you for—but when...
...perhaps the operetta’s most memorable role, and Koven certainly delivers, blazing through the patter song “My Name is John Wellington Wells” and eliciting gasps of delight from the many children in the audience during his other numbers. As Koven seems to understand, the character’s distinctive combination of weird and respectable qualities exemplifies Gilbert and Sullivan’s preoccupation with juxtaposing the ironic and absurd...
...video of the veterans speaking, while broadcasting their words. His most recent work, created for and shown at the Institute of Contemporary Art (ICA) in Boston, is smaller in scale, but does not depart from the frank manner in which he addresses war. Wodiczko attempts to make his audiences understand the nature of war by inundating them with emotionally charged visual and auditory material. He comes tantalizingly close by plastering safe and static public buildings with the frightening chaos of a foreign war, but his aggressive approach overwhelms the substance of his pieces...