Word: victor
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Dates: during 1950-1959
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...Algerian National Assembly and one of France's most vocal supporters in North Africa (TIME. June 10), as he walked toward his car with Paris' director-general of police. In court last week 26-year-old Ben Sadok offered a highly literate defense (his favorite authors: Stendhal, Victor Hugo, Holland. Sartre, Camus). He denied that he had any connection with the rebellious Algerian F.L.N., explained that he had decided on murder the day Chekkal joined the French delegation to the United Nations: "I didn't have anything against him personally, or against his opinions, because...
...independent Players is a dramatic organization run by Harvard students, but unconnected with the College. It was formed less than a month ago by Victor N. Claman '58, Robert R. Evans '59, Barry Bartle '59, James R. Gillen '59, and several others. If this production is well received, the groups intends to give one or more plays a year here...
Lewis M. Steel '58, production manager of the Opera Guild, David E. Green '58, former president of the HDC, and Victor N. Claman '58, president of the Harvard Gilbert and Sullivan Players, issued a joint statement criticizing "open casting and staffing" in House productions as "definitely against the spirit of the University regulation which prohibits one undergraduate organization from duplicating the function of another...
...chamber music, e.g., the Westminster version of Schubert's lusciously Viennese "Trout" Quintet sold 100,000 copies in five years and is still going strong; the peppery, well-publicized Budapest String Quartet sells about 50,000 records a year (Columbia). Most significant shift in the wind: RCA Victor, after acting for three years as if chamber music did not exist, put out four chamber music releases last month (including the eighth current, and rather saccharine, LP version of "The Trout"). RCA's reasoning: hi-fi and good sense will gently lead listeners to the delicacies of chamber music...
Hamlet (RCA Victor, 2 LPs). Sir John Gielgud, as a pensive, polished Dane, takes up arms against a sea of troubles with the able help of London's Old Vic Company, which is always impressive, if sometimes too elegant-sounding and static. In contrast to Sir Laurence Olivier's brasher, more youthful performance in 1948, Gielgud's version is resigned, traditional, declamatory; but it emerges as a memorable reading. All in all, from the creepy wind sighings and distant bells on the battlements of Elsinore in the first scene to the swordplay and slaughter of the last...