This doesn't confuse anything: being continually reminded of the artifice of performance helps us forgive the play's occasional staginess.
|
|
But beneath its mild staginess and intermittent mania lies a cynical, piercing parable about China's past and perhaps its present.
|
|
There's a staginess to them, a distinct campiness — they represent a world where all genuine human emotion has been replaced by a painfully over-the-top imitation of it.
|
|
The "use of a nasty, colored grotesque as the portrait of Dorian Gray in the final stage of his corruption seemed a cheap and raw piece of staginess," he wrote.
|
|
Nowitzki may be the most reliably joyful of the NBA's elder statesmen, a counterpoint to Kobe Bryant's self-serious staginess, to Tim Duncan's noble trudge, to Kevin Garnett's sage mania.
|
|
That staginess can seriously hamper dramatic effect in lesser efforts, but Fences is buoyed by Washington and Davis: Their gale-force performances will blow audiences against the back of their seats, and they're further supported by a strong cast, especially Henderson.
|
|
The movie's stubborn staginess can make it difficult for you to overlook the original's literary construction: There are too many metaphorical allusions to that fence, and a supporting character named Gabriel actually comes with his own trumpet to blow in the direction of heaven.
|
|
Most of the action takes place in the "Money Monster" studio, but the claustrophobia — or the lingering threat of staginess — is relieved by visits to the sleek corporate suites of Ibis Clear Capital, a company whose stock, repeatedly plugged by Lee on the air, has recently taken a tumble.
|
|
They worked by offsetting visual splendor with the thematic chill of, for example, Native Americans encamped beside a freeway bridge, or a white man on a street making a racist gesture to an Asian, or a panorama of actors posing as hideously wounded soldiers, or a steeply angled view of a suburban neighborhood where an eviction is in progress, or, less dire, the meticulous enactment of a famous Hokusai print of people by a pond in a high wind, which sends papers flying from the grasp of one character—a work whose staginess seems not its method but its very point.
|
|
Later, the staginess of the film was blamed for this commercial failure. B. N. Sircar felt the short shooting schedule of the film was the reason of the commercial failure. However, some Bengali critics applauded the film for its "aesthetic values" (or Tagorean qualities). The Bengalee newspaper wrote in their review: > As everyone knows, apart from the charm lent to it by the Poet, the story > has an intense appeal of its own.
|
|
The review in Frankfurter Allgemeine Zeitung pointed out the staginess of the adaptation and found Micha Lescot's slightly tongue-in-cheek performance as the narrator somewhat lacking. Der Tagesspiegel on the other hand praised the adaptation, in particular for its visual opulence and Micha Lescot's acting. Le Figaro also lauded the telefilm both for its screenplay—which it considered accessible in style yet true to the tone of the novel—and the performances, especially by Micha Lescot, Didier Sandre, and Dominique Blanc.
|
|
Review-aggregation website Rotten Tomatoes gives the film a score of 46% based on reviews from 172 critics, with an average rating of 5.9/10. The site's critic consensus reads, "Fans of the stage musical may forgive Rent its flaws, but weak direction, inescapable staginess and an irritating faux- boho pretension prevent the film from connecting on screen." On another review aggregator, Metacritic, the film received a score of 53 out of 100 based on 35 reviews, indicating "mixed or average reviews".
|
|
Nandrekar and Bimla Kumari, screen shot in Filmindia 1938 Baburao Patel, editor of the cine-magazine Filmindia, termed Bimla Kumari's acting as "staginess". Nandrekar was stated to be "useless", while Nazir's acting was cited as "unnatural and affected". K. N. Singh and Sitara Devi were the only two actors praised for their performances, with a special commendation for Singh that he would make a "good character actor". The direction for this "weak story" was called "unimaginative and unintelligent" but better than Kardar's earlier film Milap.
|
|
From 29 March to 14 May 2016, MacKay performed the part of Mick in Harold Pinter's play The Caretaker directed by Matthew Warchus at The Old Vic Theatre in London opposite Timothy Spall and Daniel Mays. Both Spall's and MacKay's performances received some criticism in The New York Times: "A ... staginess undercuts Mr. MacKay’s grip on the initially grim-faced Mick; the actor has been allowed to turn several of the character’s longer speeches into breakneck verbal marathons calculated to earn applause." In the 2016 film Captain Fantastic, MacKay portrayed Bodevan, eldest son of Ben Cash (Viggo Mortensen).
|
|
There is little evidence that this was the case, and none of her contemporaries acknowledge any aristocratic status. There is also no evidence that Oroonoko existed as an actual person or that any such slave revolt, as is featured in the story, really happened. Writer Germaine Greer has called Behn "a palimpsest; she has scratched herself out," and biographer Janet Todd noted that Behn "has a lethal combination of obscurity, secrecy and staginess which makes her an uneasy fit for any narrative, speculative or factual. She is not so much a woman to be unmasked as an unending combination of masks".
|
|
Christopher Loudon of JazzTimes stated "The intersection of Kurt Elling and Sammy Davis Jr. may seem an unfathomable junction, but that’s precisely where you’ll find Gregory Porter. On his debut album, consisting largely of original tunes that are as uniformly impressive as his sound, Porter takes the best of Davis-the superior interpretive skills, clarion tone and immaculate diction that were too often overwhelmed by staginess-and marries it to the best of Elling, complete with some solid scatting". Phil Johnson of The Independent wrote "Tipped by Jamie Cullum as one to watch, Porter is a deep-voiced vocalist from Bakersfield, California. There's an obvious debt to Kurt Elling but Porter seems relatively unbound by technique, sounding less mannered and more soulful as a result".
|
|
William Dieterle with Ricarda Huch in Berlin (1946) While many commentators at the time felt that his career had reached a peak in the 1930s, it is now believed that the films of this period contain some of his best work. David Thomson, for instance, has written that the bio-pics of the 1930s are "ponderous, Germanic works, suffering from staginess and the unrestrained histrionics of Paul Muni." By the time he was working for Selznick in the 1940s, the director's "sense of almost supernatural atmosphere" matched those of his producer, with his later works "all suggest if not a late flowering, a realization that his talent was for the lavish romantic."David Thomson The New Biographical Dictionary of Film, London & New York: Little, Brown & Alfred A. Knopf, 2002, p.
|
|
Kevin Thomas, in LA Times, 4 May 2007. One of the aspects noted by Anglo-American reviewers was the deliberate theatricality in the style of filming: "The film is entirely shot on sets that advertise their staginess - for example by the absence of ceilings revealed by the overhead shots, or their striking pastel colours (pinks, oranges and whites) and the repetition of frames filled with seemingly shifting partitions: etched glass, beads, ironwork, veils and so on." "...The superbly sustained aura of delicate artifice – this is a Paris where it’s always silently snowing, even, at one point, indoors – lends the characters’ repeated attempts to break free of their boxed-in lives the ritualistic magic of a fairy tale."Geoff Andrew, in Time Out (London), issue 1926: July 18-24 2007.
|
|