Word: wagner
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Dates: during 1930-1939
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...with spending money to ridicule them. The offender was the WPA's Federal Theatre production about slum clearance, ". . . one third of a nation'' (TIME, Jan. 31). The offense was casting Senators Andrews of Florida, Byrd of Virginia and Tydings of Maryland as mild critics of the Wagner-Steagall Housing Bill. The Senators complained that their impersonators on the stage called forth boos & hisses. As their remarks came straight out of the Congressional Record, they admitted they had not been misquoted, but insisted they were not quoted fairly. In the play Byrd and Tydings seek to amend...
...since the days Federated Press was organized, the press in general has trained reporters to do a better job of labor reporting. Last month the National Labor Relations Board remarked that reports of labor news contrast markedly with ''inadequate reporting of labor disputes" before 1935, when the Wagner law was enacted. "Many of these [labor reporters]," said NLRB, "have been led to probe beneath the exterior dramatics of strike stories into conscientious study of the complicated social dilemma involved in every labor dispute, however small...
...meeting planned for next Thursday at 7:45 o'clock in the Winthrop House Common Room, a committee will present two diverging reports on the proposed revision of the Wagner Labor Relations Act. Debate will proceed on the basis of amendments offered by the committee and on others introduced from the floor...
Last week, while 14 Reichswehr generals were ousted, after protesting among other things Rosenberg's Wagnerian neo-paganism (see p. 18), Manhattan's Metropolitan Opera House opened its annual Wagner cycle. Not even in Wagner-worshipping Germany will these operas (Tannhäuser, Die Meistersinger, the Ring cycle), be more reverently, painstakingly and expertly performed. But where the all-conquering Siegfried represents Der Fiihrer to every starry-eyed German backfisch, he will remain for U. S. operagoers a poetic figure of ancient and barbarous legend...
...Richard Wagner, unwitting backdrop-designer for Nazi heroics, wrote words as well as music for all his operas, created a revolution in stagecraft. Musically he influenced nearly every composer of the late 19th and early 20th Centuries. Inspired by the notions of ancient Greek dramatists, Wagner visioned a super-art in which music, the drama, the dance and painting were combined. For his music-dramas he created a whole new musical language in which tunes and chords (Leitmotive or "leading motives") represent ideas and personages. Events, motives, characters, situations are all identified by characteristic musical phrases. Their appearance...