Word: witness
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Dates: during 1980-1989
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...actors are a finely tuned collection of theatrical instruments, and, in his directorial debut, Actor Kevin Conway conducts the ensemble with symphonic finesse. He varies the tempos of wit, irony, lust, menace and shock deftly, and inter-culturally speaking, he certainly knows his oud from his oboe. -T.E. Kalem
...Lucas' identifies with one or more of his characters. In Star Wars there was a lot of Lucas in Luke, the wide-eyed farmboy who was always yearning for bigger things. In The Empire Yoda is his alter ego. Yoda's speeches might almost be called The Wit and Wisdom of George Lucas. Like Yoda, Lucas is a devout believer in the Force. Says Lucas: "When you are born, you have an energy field around you. You could call it an aura. An archaic description would be a halo. It is an idea that has gone...
...beginning in 1938, TIME'S brilliant and influential drama critic; in Wellesley, Mass. Kronenberger came to the theater from the world of New York book publishing. Though he subsequently spent thousands of hours in aisle seats, he sometimes seemed to find Broadway lacking in the style, elegance and wit that characterized the drama and literature of his favorite century, the 18th, about which he fashioned fascinating books such as Kings and Desperate Men, a survey of 18th century England, Marlborough 's Duchess, a biography of Sarah Churchill, and an anthology called The Portable Johnson and Boswell...
...decade and the desultory time frame of Ann Beattie's second novel. Her first, Chilly Scenes of Winter, was filmed last year as Head over Heels, and her short stories have been collected in two books, Distortions (1976) and Secrets and Surprises (1979). Beattie, 32, writes with quiet wit and subdued sympathy about the states of mind that have become the clichés of middle-class malaise. One need not elaborate, except to say that after 30 years of postwar fiction, American writers appear to have reversed Tolstoy's happy-family dictum. It now appears that...
...female nude. The photographers, most of them not widely known, have been adroit in capturing the absurdity and the glamor of the automobile, its allure as an emblem of commercialism, transience and sex, but the show's interest as a sociological record is overwhelmed by the force, wit and elegance of individual pictures. The strongest work is the product of sensibilities inclined towards the commonplace, the fragmentary, the unresolved, and the best photographs are frequently of nothing much at all. Duane Powell gets a peculiar, hovering beauty out of a telephone pole, the cresent...