Word: whose
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Dates: during 1960-1969
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...fully understood and appreciated at its first performance, and he was repeatedly plagued with self-doubts. On occasion he vowed never to bother with the stage again. And he got into heated interpretational conflicts with Stanislavsky and Nemirovich-Danchenko, the two heads of the celebrated Moscow Art Theatre, whose influence still plagues Chekhov's works...
...deaf old porter Ferapont is in the capable hands of James Greene, who is obliged to wear shabby or worn-out clothing and whose figures stick through holes in his black mittens. He carries out his menial chores without complaint. Michael Parish and Tom Klunis do yeoman service in small straightforward roles of lieutenants Fedotik and Rode...
...ugly, the uglier the better, because (and this is where the inexorable logic of the human heart denies the overwhelming evidence of history) man is soon to become the swan. What kind of swan? Well, the speculation forms the basis for a whole body of literature, a literature whose only real unity is a pervasive belief in man's future transfiguration. Tolkein, Hesse, Arthur C. Clark, all the fountainheads of their respective cults, offer variants on the theme. Man, either as an individual or as a society, is still in his adolescence. He is yet to attain a simpler kind...
...LESSING, those that society has labelled mad are actually those super-perceptive, rare individuals whose natural telepathic and extrasensory powers have not atrophied. Martha, in her role as a letter-day Mrs. Dalloway peering into the crevice that separates two eras, discovers that she shares certain affinities with Linda. From that point, it is not long before Martha is voluntarily undergoing harrowing experiments in order to determine the limits of her consciousness. As the novel closes, she is stranded off the Scottish coast, England having been decimated by poison gas and radioactivity. She has also become a member...
...moral and perceptual experience. The sudden manifestation of death (which had existed before the film began) in the canary is part of the film's smooth flow, a dramatic event quietly noted and celebrated (in the bird's cremation). The theme of a box-like object or set whose dark exterior contains a bright space inside returns later in exteriors of the cafe which seem Expressionist: the hero wanders through the shadow-filled darkness barred from light, warmth, security. But the stove, like the stage at the end, gives the light a different meaning. Light is the core...