Word: use
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Dates: during 1950-1959
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...missing from the credit list. And lest the Russian shopper think that the consumer millennium is just around the corner, Premier Khrushchev, on his way back to Moscow from Peking, told a Vladivostok audience that the U.S.S.R. has no intention of trying to equal U.S. automobile output. "We will use automobiles more rationally than the Americans do," he said. "We are going to establish taxi pools, where people can use cars when they need them. Why should a man worry about parking space...
...Cuban children will expect presents from the Three Wise Men on January 6, the feast of the Epiphany. No cardboard Santas or reindeer will be permitted. "Decorations must be made of Cuban materials, with traditional Cuban scenes," ruled Senora Antuña, "and Cuban Christmas cards must be used instead of imported ones." Yankee Christmas trees are out; everyone will use the good Cuban palm...
Sharply satirical one moment about political figures or popular songs, Flanders and Swann are gaily whimsical the next about animals (their specialty) or plants in love. Their tone is sophisticated; they never spell words out, and use many that are foreign. Their joking is educated, with here a lurking bit of Wordsworth, there a pun on Kyd. They can be most lively when most deadpan, and most deadly when most daft. But their triumph rests on their total effect. Delightful as their songs can be (one is about an Oxford-bred cannibal who no longer likes eating people), the evening...
...trouble as a playwright. With Freud raising the blinds on the unconscious, and expressionism opening a crazy-shaped door on the unrealistic, O'Neill grew bolder in his broodings-and more confused. In The Great God Brown, his psychological quarry was the split personality, his technical gimmick the use of masks. Turning a masked face to the world, Dion Anthony (Fritz Weaver) seems Panlike, violent, blasphemous, sexually magnetic. Without his mask, Anthony quivers and quakes, is reverent toward God and repellent to women. Dion's school friend Billy Brown (Robert Lansing) grows up decent and successful but frustrated...
...Brown, O'Neill tackled something formidably complex: both the conflict within a divided personality and divided selves clashing with one another. The use of masks has visual value; the sudden shifts in character and the transference of personality have theatrical force. But the conflicts that concerned O'Neill are among the eternal conflicts of stage drama. They are more rewarding when the audience must distinguish the face from the mask, or when the two are not easily distinguishable. Theatrical without being dramatic, O'Neill created men with two profiles but without any face...