Richard Foreman
Richard Foreman
Richard Foremanis an American playwright and avant-garde theater pioneer. He is the founder of the Ontological-Hysteric Theater...
ProfessionPlaywright
Date of Birth10 June 1937
chemical experts iraq picture weapons
the experts as a whole said the whole picture is that Iraq put chemical weapons in these warheads.
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When we see Israel suffering these horrible bombings, when we see this kind of violence threatening once again to make progress more difficult, we're keeping in touch with the other players.
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There are people who love beef but they're concerned about it (fitting into a healthy diet). We're not out to convert the world but to learn more from a cooking perspective.
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We have a tug-of-war going on between earnings, which are reasonably good, versus the Fed, where people are trying to figure out are they still going to tighten or not.
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We've always respected Israel's right to defend itself, including going after armed groups and armed men in some of these areas. But we've always said they need to do that in a manner which has the utmost care to avoid harm to civilians, particularly when they're conducting operations in heavily populated areas. And we've said that often results in tragedies and numerous deaths. And that appears to be what's happened again.
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We are actively considering all these legal issues and trying to work with the other governments involved to make sure that their concerns are satisfied,
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We strongly urged those involved to release the arrested government officials.
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Until South Korea ends its political transition, it might be perceived to be a little unseemly for us (America) to move forward.
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There is no work of art that has ever been made that is absolutely truthful about life.
twilight civilization play
My play is the ultimate expression of my feeling of the twilight of Western civilization.
art struggle book
Everything Brecht wrote—plays, dialogues, and poetry—was his attempt to clarify the inner contradictions not only of the capitalism and fascism of his times, but also of the communism that was always disappointing his deepest hopes. In a book that makes Brecht’s struggle to reveal these hidden contradictions its central theme, Glahn issues, by implication, a call to arms to today’s artists—who are faced with a world that seems to defy attempts to treat the global crisis with an art that is rarely more than notes on ‘local’ angst.