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...also a Crimson editor), upon which a dancer—Hannah S. Yohalem ’10—sits and types on a typewriter.However, once the story is set and the real dancing begins, all reservations about this seemingly bizarre piece become utter amazement at both the ingenuity of the choreography and the flawlessness with which the dancers execute the extremely difficult and acrobatic moves. With unbelievable strength and grace, the dancers flip over and walk on each other, creating the effect of a human jungle gym. In the style of “Crouching Tiger, Hidden Dragon...
...these CRs’ actions, which defiantly disregard conventional albeit hypersensitive standards of decency, contribute little if anything to the conversation. Even those who would otherwise sympathize with their political perspective must inevitably shudder at the utter tastelessness. The tactics employed in such campy events undoubtedly fail to engage any observers who aren’t already of similar opinion—and those who don’t share their apparently puerile taste for practical jokes...
...wonderful things about the scene is that it's pure theater. Turn it into a movie, and we would be dragged, inevitably, into the action outside. Which would spoil the point: the unmistakable sense of both the ordinariness and the utter incomprehensibility of the experience of men in war. Outside, soldiers are racing across a patch of ground scarcely bigger than the width of a rugby field. Inside, the bunks are still warm; the bacon and tea are waiting. The men are gone for just three minutes. When they return, everything has changed. When it was first staged in London...
...first Filonov show in 56 years was received mostly as a novelty. Now, Witness of the Unseen treats Filonov's oeuvre as classic art that commands the same depth of regard that Filonov invested in it. His aesthetic achievements are enough to mark him out as an utter original. Behind them lurk the bittersweet discoveries of an artist who plunged deeply into human dejection even as he reached for a beauty...
...Virtually no one disputes the utter vapidity and still-born humor of the Danish caricatures at the center of the case - and which French daily Lib?ration ran again as the trial opened Wednesday. Initially, as the fury over the caricatures grew, the magazine published another cartoon depicting the Prophet lamenting of the hue and cry, "It's hard being loved by a**holes." But now that the matter is in court, Charlie Hebdo's editors are dropping their cavalier sarcasm and instead cast themselves as the last bastion of free speech...