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- Date:
- 1961
- Summary:
- The idea that the Bible can be read purely as literature is not new, but it receives much support from Dr. Boyd’s sensitive and moving interpretations and discussions. This is particularly evident in this program, which analyzes one of the most inspired of David’s psalms. Dr. Boyd explores the relation of the psalm’s view of God to others expressed elsewhere in the Bible, the influences that shaped the construction of this poem of praise, and the emotions that inspired it.
- Date:
- 1961
- Summary:
- Dr. Bernard Boyd, University of North Carolina, discusses the Book of Hosea from the Bible. Analyzes the relationship of Hosea and his wife Gomer as a metaphor for God and the faithless people.
- Date:
- 1961
- Summary:
- An enthusiastic discussion from Dr. Bernard Boyd, University of North Carolina, on the Book of Nahum from the Bible. Presents the text as historically oriented writings dealing with the human experience in those times.
- Date:
- 1961
- Summary:
- Discusses the question, "Is science good or bad for man?" Presents a banquet in honor of a famed scientist at which his lifelong friend delivers an accolage to science in general and a tribute to the distinguished guest. Rising to deliver his remarks, the scientist expresses his deep fears that science may well lead to the decline of civilization. The scientist's fears are symbolically illustrated by nightmare-like scenes in which he despairs of scientific truth and man's inability to ever catch up with his own technological progress. Later, the scientist seizes upon the idea of the use of science for the benefit of man. His hopes are visualized in optimistic, dreamlike scenes.
- Date:
- 1961
- Summary:
- Dr. Tillich first deals with the puzzling question of how to deal with doubt in young people. It is important, he explains, to present religious symbols in as clear and persuasive a form as possible, without dictating what the child or young person should believe. Doubt can appear in later life, too, and is often a product of an inability to face life or to escape the pressures of conformity. The second part of the program consists of a variety of comments by Dr. Tillich about the value of art and of modern art in particular, his recollections of his father, and his early decision to devote his life to philosophy and theology. At the end of the program and to conclude the series, Dr. Tillich explains his belief that man must be concerned with the “ultimate” wherever it appears, that he must make an effort to understand his life in terms of that which transcends life, in terms of eternity.
- Date:
- 1961
- Summary:
- Religion, comments Dr. Tillich at the start of the program, is primarily interested in finding answers to such questions as: “What is being?’ “What is the relation of life to eternity?” “What is the meaning of life?” After commenting on the role of religion, Dr. Tillich discusses the relations of a moral law to the teachings of religion. The first principle of all moral action is love, he says. Not sentimental love but the love which unites what has been separated. Our ability to love properly is what motivates all our moral actions. This ability is called grace. A church is organized to house grace, but a church is far more than a physical or temporal structure or organization. At the end of the program, Dr. Tillich discusses the different ways of understanding Jesus Christ and the language of religion.
- Date:
- 1961
- Summary:
- Richard Rodgers was brought up in a passionately musical family. His mother was brilliant pianist; his father, a doctor, sang. They would sing and play the comic operas of the day. He was weaned on “The Merry Widow” and “Chocolate Soldier.” “These are the happy memories of childhood.” When he was sixteen years old, he met 23-year-old Lorenz Hart, who proceeded to explain his theory of lyric writing. Rodgers was proud that the age of sixteen he understood Hart. Rodgers played a couple of tunes for him and that was the beginning of a 24-year partnership. Nothing has ever been more gratifying than his first success to its fullest ... loved every minute of it. Everything that’s come along since, I’ve loved. I roll success around in my mouth like a piece of candy.” He hates failure –but thinks it’s the result of being alive –and readily admits to several: “Chee Chee,” “Pipe Dream,” and “Higher and Higher.” “I love it when it’s good and I hate it when it’s bad,” he says. Another Rodgerism: “In writing for people, there are two facets –one is emotional, the other is intellectual.”
- Date:
- 1961
- Summary:
- A reminiscence about Lorenz Hart is naturally followed by Rodgers’ personal and professional transition in Oscar Hammerstein II. One big difference: Oscar was interested in what to say, Larry in how to say it. The first thing Rodgers and Hammerstein ever did, “Oklahoma!,” turned out to be one of the greatest American musical theatre hits. But there was nothing about “Oklahoma!,” to suggest success. The original play was a flop … the producers announced it was their last show, they were so sure it would die … Hammerstein had had eleven years of failures … the director couldn’t get a job before they hired him … the choreographer had only one other show to her credit. Rodgers and Hammerstein declared they wouldn’t touch “My Fair Lady,” as they didn’t have the courage to tamper with GB Shaw. When they decided to do “Carousel,” based on Molnar’s “Liliom,” they dared to change the ending. At an early run-through, they learned the author was in the theatre and were thoroughly intimidated by his presence. But they were relived at his enthusiastic response and particularly at his approval of the ending. In this program there is a moment of great poignancy as Oscar Hammerstein is shown reciting “Surrey with the Fringe on top,” a song which always makes Rodgers cry because of its sentimental simplicity. More Rodgers philosophy: “Somehow or other, we find what we need – in marriage, work, friends and music.
- Date:
- 1961
- Summary:
- Richard Rodgers talks about his collaborators, Lorenz Hart and Oscar Hammerstein, and the difference in the relationship he had with these two men as compared to that of Gilbert and Sullivan “who loathed each other.” Hart was “way out,” says Mr. Rodgers, whereas Hammerstein was more down to earth. In the Rodgers and Hammerstein team, Rodgers acquired the reputation of the businessman – the man who transacted the deal, took care of the finances, and knew how to count. Rodgers pooh-poohs this with “I don’t know the salary of one person who works for me. I have a business office and people who take care of that end. I don’t want to be known as a good business man. I like the reputation of writing good music, if I do.” When Hammerstein realized that his days were numbered, he told Rodgers to get a young person to work with. “A young person will give you energy, new ideas, direction; you will give somebody young experience,” he said. When 20th Century Fox wanted to remake “State Fair,” they asked Rodgers and Hammerstein for three songs to add to the old score. When it became obvious that Oscar could never do it, Rodgers decided to undertake both music and lyrics, for the first time in his life. The songs were accepted, and he says, “I never had more fun working my life. I’m on a new road whether it’s with another collaborator or alone.”