Rebecca J. Mazur
In the Sedlec Ossuary, about an hour outside of Prague, crowds of tourists turn their cameras on stacks of human skulls and chandeliers suspended by chains of jawbones.
There are so many amazing things about this city and about the few Czech people that I’ve met here that I’ve been inclined to write him off as just a poor idiot, maybe a drunkard, not representative culturally of anything. Who knows where he picked up this particular brand of stupidity.
According to Johnson, the intention of the performance is for the audience to be struck by key moments that resonate with them in unexpected ways. “Dance isn’t necessarily about understanding one version of what’s presented; there isn’t only one story. You can come to the theater and have it be a break from our hyper-digitized work day and see what it looks like when the body is thinking,” Johnson says. “Dance is about articulating things for which there are no words.”
But this unassuming countenance does little to suggest the small, single-screen movie house’s long influential history. In the 60 years since its opening, the Brattle has helped to transform local film culture, and its influence has extended across the country.
It’s worth noting that “Warm Bodies” is not “Twilight” with zombies. While it is a romance between a human girl and a not-exactly-human guy, the irreverence with which “Warm Bodies” treats the entire subject matter sets it entirely apart.
"I really do embrace the character and think about the character from the inside out—I’m never just designing a pretty garment.”
Ben Affleck branches out from the Boston area with his new film, "Argo," and explains his motivations for doing so in an interview with Crimson editor Rebecca J. Mazur.
Regional public artists gathered at Harvard's Arts @ 29 Garden to discuss their diverse projects and questions of accessibility and activism.
Two Harvard alums talk about their exhibitions in the Main Gallery of the Carptenter Center.
When you're studying at a language school like the one I’m at in Bordeaux, you get used to people coming in and out of your life with the coming and going of each week.
There are police and law enforcement everywhere here. Mostly they don’t do much; they just stand on street corners or walk menacingly through crowded areas.
I'd been to the park a handful of times before noticing the apricot tree. The apricots were mostly near the top, so we had to climb and jump to shake them down.
The setting of “The Orphan Master’s Son” resembles a traditional, fictional dystopian society—yet the fact that this is a real nation, not an invented horror world, makes it much creepier.
In a master class, students and potters help build a new kiln for the Ceramics Program's studio.
Will Ferrell extrapolates upon his new Spanish comedy, "Casa de mi Padre."