Word: visualizers
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Dates: during 1990-1999
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...other elements besides the acting, this production is dead-on. It never misses a chance to up the ante through the clever use of visual and sound effects. Each time a new couple arrives, they are presaged by the glow of their headlights; then their silhouettes are thrown up, vastly enlarged, against the screen that marks the front door, creating an effect both menacing and inherently comical. The second act begins with no sound except that of Ken chewing and swallowing his dinner: magnified to such a volume that it reverberates through the theater, ironically underscoring Ken's loss...
...gave skillful performances of the three selections: Desdemona's "Willow Song" from Othello, Feste's "O Mistress Mine" from Twelfth Night ("Youth's a stuff will not endure") and "It Was A Lover And His Lass" (a.k.a. the "hey-nonny-no" song) from As You Like It. Although the visual impact of the singers--who stood in simple black dress before upright microphones--was a little less colorful than that of the rest of the show, the singers' performances more than compensated...
...players also recited three of Shakespeare's sonnets, but the well-chosen visual and dramatic elements they added made the poetry more than mere recitation. Catherine B. Steindler '98 performed Sonnet 18--"Shall I compare thee to a summer's day?"--using the simple conceit of a woman standing in front of a mirror. Henry D. Clarke '00 set his performance of Sonnet 138 ("When my love swears that she is made of truth/I do believe her, though I know she lies") in an intriguing tableau in which the speaker, in deshabille, addressed his sleeping lover. Only Marty R. Thiry...
...seemingly benign wall of Southern Song landscape paintings that packs the most visual and intellectual punch. In contrast to the rugged monumentality of the Northern landscapes, Southern Song painters, in their own particular ways, tried to prove that "less is more." Instead of the sheer density of Northern brushstrokes, we are submerged in vast areas of blank space in which islands of calligraphic brushstrokes take on the appearance of solid ground. What distinguishes this section is not only the meticulous attention it gives to the variations within the Southern Song landscape tradition but also the fact that we see this...
...power of "Tales from the Land of Dragons" comes from the visual strength of its main works and from the occasional moments when astute juxtapositions combined with judicious wall text produce an interesting argument, as in the case of the Ma-Xia school. Though the exhibition, judging from the introduction, seems to want us to walk out with some sort of understanding of the influence of religion on Chinese art, one instead wonders about the assorted pieces of a puzzle that have been scattered throughout the space of the exhibition. What of the relationship of calligraphy to painting, the differences...