The 1993 Whitney Biennial was lauded in many reviews of last year's edition and, in that weird reprise of
tragedy as farce, ACT UP's saga is to become a mini-series on US network television, while many Republicans now support gay marriage.
Not exact matches
In My Blood: Six Generations of Madness and Desire in an American Family By John Sedgwick HarperCollins, 400 pages, $ 25.95 Dig deeply into any family history and you're bound to unearth a mosaic of
tragedies and
farces, but few families have given rise to
as many prominent figures
as the Sedgwick clan has, few have created such archival treasures, and few can trace their American lineage back to 1635.
The first time
as tragedy and the second time
as farce.
History,
as Marx taught us, likes to repeat itself: the first time in the form of a
tragedy; the second, a
farce.
He forgot to add: the first time
as tragedy, the second time
as farce.»
But many party members must be thinking of his observation that everything in history happens twice — the first time
as tragedy, the second
as farce.
As political theatre goes, it was bizarre, like an amateur production of a Jacobean melodrama: bodies piling up all over the stage; actors stumbling over the corpses and missing their cues;
tragedy turning to
farce.
Depending on your tastes, that verdict might either bring to mind Marx's adage about history being repeated first
as tragedy then
farce, or the immortal words of Jay Gatsby: «Can't repeat the past?
The locations help redefine Ibsen's action; the film finds its own unique form
as a sardonic,
farce - streaked
tragedy about a man who's not at home in his own estate.
Billy Wilder, for example, was originally dismissed by Sarris
as a director without a personal style, and, indeed, Wilder tackled an astonishing range of material, from romantic comedies to film noir («Double Indemnity»), Hollywood
tragedy («Sunset Boulevard»), journalistic expose («Ace in the Hole») and classic
farce («Some Like It Hot»).
Screen
farce, like screen pornography, may involve culturally embarrassing examinations of audience metabolism and endurance, examinations which may explain why modern audiences are seldom moved
as emotionally
as they think guiltily they ought to be by the five - act
tragedies of Shakespeare.
If you re-read the final scenes between Winston Smith and Julia from Nineteen Eighty - Four and then watch this scene, you can have your own version of Marx's dictum about history
as tragedy, then
farce.
Marx's observation that history tends to repeat itself «the first time
as tragedy, the second
as farce» may help to account for the evolution from JFK to Natural Born Killers.
Conlon captures the herky - jerky nature of a policeman's daily routine
as it swings between
farce and
tragedy, all the while detailing the way cops talk, joke, and stress.
And when the storm breaks, it is not only God who is on the rocks
as the summer hurtles towards drama,
tragedy, and a touch of
farce.
The scope of his genius included portraiture, landscape painting, mythological painting, realistic stories, symbolical representations,
tragedy, comedy, satire,
farce, men, gods, devils, witches, the seen and the unseen and
as was the case with Shakespeare's extravagant genius - an occasional excursion into the obscene.
The Beggar's Pantomime Artforum International; July 1, 2007; Gilligan, Melanie; 700 + words MELANIE GILLIGAN ON PERFORMANCE AND ITS APPROPRIATIONS FEW APHORISMS ARE MORE FAMOUS than the redoubtable «History repeats itself, the first time
as tragedy, the second time
as farce» - an observation typically attributed to Karl Marx.