Word: visualizing
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Dates: during 1980-1989
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...very visual, serving political interests of both the U.S. and two important allies, Japan and South Korea, as Reagan made the first trip to Asia of his presidency. Japanese Prime Minister Yasuhiro Nakasone, in particular, faces an election, perhaps as soon as December, in which his Liberal Democratic Party may lose parliamentary seats. He was anxious to display himself to Japanese voters as a world statesman closely consulted by an ally of whom he often says: "I call him Ron, and he calls me Yasu." The White House saw reciprocal advantages in giving a boost to Nakasone, whom it judges...
...CANNOT HELP WONDERING why Warner relies so much on external workings when his cast's acting talent could have carried the play. Everything is intensely visual. Warner brilliantly sets the actions on two levels, using both the regular platformed stage and the flat space in front, usually used for the orchestra. The characters move all over the theater, sitting in the seats, entering and existing from side doors, the actual stage, and a back door behind the audience Heads are constantly turning to follow the roaming...
...music underscores the play's striking visual opening. The curtain rises on a bare stage with the entire cast sitting silently in a semi-circle, representing the suffocating constrictions of the tiny village society Yerma lives in. Yerma (Claudia Silver) lies isolated from the rest of the cast in the middle of half-moon, while a brief film by Carl Sprague flickers over her head...
...proves unsettling. At one point about three quarters of the way through the play, the audience is shaken out of an absorbing drama and thrown into a high-tech world of blinding light and blasting, raucous music. An attempt by Rick Reynolds to sing is lost in the overwhelming visual effect and affront of the staging...
...less "feminine" woman artist of her generation? Probably not. Even Krasner's favorite pink, a domineering fuchsia that raps hotly on the eyeball at 50 paces, is aggressive, confrontational; and when her line evokes eros, its grace is modified by a rough, improvisatory movement, a distrust of quick visual acceptance. Sometimes, as in Green Fuse, 1968, or Rising Green, 1972, she refers to the palm-court, winter-garden atmosphere of late Matisse; yet the shapes are too cutting to stand as undiluted emblems of luxury. Critical of the world, she is just as hard on herself, harder than most...