Technical Theater Quotes

Religions, creeds, drama, poetry, games, folklore, folk tales, mythology, moral and aesthetic codes' elements of the political and juridical life affirming a personality's value , freedom and tolerance ; philosophy, theater, galleries , museums, libraries-this is the unbroken line of human culture, the first act of which has been played in heaven between God and man. That is climbing the holy mountain , the top of which remains unreachable' marching through darkness by means of the blazing candle carried by man. Civilization is the continuation of technical rather than spiritual progress in the same way that Darwinian evolution is the continuation of biological rather than human progress. Civilization represents the development of the potential forces that existed in our less developed ancestors. It is a continuation of the natural , mechanical elements-that is, of the unconscious, senseless elements of our existence. Therefore, civilization is neither good nor bad in itself. Man must create civilization , just as he must breathe or eat. It is an expression of necessity and of our lack of freedom. Culture ,on the contrary, is the ever-present feeling of choice and expression of human freedom.

Among the best shows were these, some of which have attained cult followings: The Most Dangerous Game (Oct. 1, 1947), a showcase for two actors, Paul Frees and Hans Conried, as hunted and hunter on a remote island; Evening Primrose (Nov. 5, 1947), John Collier’s too-chilling-to-be-humorous account of a misfit who finds sanctuary (and something else that he hadn’t counted on) when he decides to live in a giant department store after hours; Confession (Dec. 31, 1947), surely one of the greatest pure-radio items ever done in any theater—Algernon Blackwood’s creepy sleight-of-hand that keeps a listener guessing until the last line; Leiningen vs. the Ants (Jan. 17, 1948) and Three Skeleton Key (Nov. 15, 1949), interesting as much for technical achievement as for story or character development (soundmen Gould and Thorsness utilized ten turntables and various animal noises in their creation of Three Skeleton Key’s swarming pack of rats); Poison (July 28, 1950), a riveting commentary on intolerance wrapped in a tense struggle to save a man from the deadliest snake in the world—Jack Webb stars

Technically, however, it was far from simple: its problems were both technical and tactical, and it was a producer’s nightmare. The show would put its listeners right into the fields of battle, using shortwave pickups from far-flung theaters. Signals, almost certainly, would be lost, some would be jammed by the enemy. Remotes would have to be cued in advance, by synchronization. This was live radio: entire sequences might vanish while the show was in progress. Tactically, how would security be maintained? How could a nation be informed without giving away vital information to the enemy? Scheduling was another problem. Even a major subject like Gen. Douglas MacArthur could get no preshow billing: a hint of his whereabouts would invite a rain of Japanese fire.

For man to feel belittled, as so many now do, by the vastness of the universe or the interminable corridors of time is precisely like his being frightened by his own shadow. It is only through the light of consciousness that the universe becomes visible, and should that light disappear, only nothingness would remain. Except on the lighted stage of human consciousness, the mighty cosmos is but a mindless nonentity. Only through human words and symbols, registering human thought, can the universe disclosed by astronomy be rescued from its everlasting vacuity. Without that lighted stage, without the human drama played upon it, the whole theater of the heavens, which so deeply moves the human soul, exalting and dismaying it, would dissolve again into its own existential nothingness, like Prospero's dream world.

Isaac, the black body servant of Colonel John Nisbet of the Sixty-sixth Georgia, joined his master in the breastworks from time to time to try his hand at shooting Yankees. Amos Rucker was technically a body servant in another Georgia regiment, but it was "well known that he was in the fights around Atlanta on several occasions". When Rucker died many years later, his former comrades-in-arms saw to it that he was laid to rest in the uniform of the Confederate States Army.

You see, Ralph Turner and Victor Irish grew up in the 1920s and 1930s, listening to radio shows and watching Westerns in the theater. Growing up, they often played Cowboys and Indians in the fields and forests surrounding their homes. Like most people at the time, they had a Hollywood notion of Native American culture, which they used to try and visualize some kind of indigenous society that would produce copper tools and jewelry. They imagined the technical skill, the mines, and the workers that come with a metalworking society, like their own. However, the portrayal of Native Americans in the Westerns made it di^icult for them to imagine that Native American societies could have achieved this level of expertise. Having a hard time picturing a Native American using copper, Ralph half-jokingly says, "Maybe the Vikings came to Wisconsin before Columbus?" while shrugging his shoulders.

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