“What is the meaning of life? That was all- a simple question; one that tended to close in on one with years, the great revelation had never come. The great revelation perhaps never did come. Instead, there were little daily miracles, illuminations, matches struck unexpectedly in the dark; here was one.”
― from TO THE LIGHTHOUSE By Virginia Woolf, 1927
2023年6月9日 星期五
聚會昔日AMP 公司主管、2023.5.11：台北書緣 (7)：孫景武(James Sun )兄倫敦帶回貢布里希（Ernst Hans Josef Gombrich， 1909 -2001）著作7~8本：Topics of Our Time. Twentieth-Century Issues in Learning and in Art. 影響"漢清講堂"相關的影片製作：《藝術的故事》、《藝術與錯覺》、《理想與偶像》、《秩序感》、《藝術與科學》、《圖像與眼睛》、《藝術與人文科學》、《象徵的圖像》、 https://www.facebook.com/hanching.chung/videos/619206082547947江青《念念》(2021)。 思念的人，疫情之前，之中，轟烈的愛情及其他：：張毅、李名覺（Ming Cho Lee，1930－2020）、傅聰、余英時、李行，蔡瀾、周龍章、高行健、艾未未、夏陽……
2023.5.1的會，孫景武(James Sun )召集、付款，之後，他在台灣繞一大圈、訪友......，又隻身去日本泡溫泉，真是令人佩服.....
----
昔日AMP 公司主管聚會2023.5.11：財務專家 M 的健康醫療資訊豐富；Alex 闔家美滿；李總無聯絡......
孫景武(James Sun )兄：
1.書緣 (1988？)：倫敦帶回貢布里希（Ernst Hans Josef Gombrich， 1909 -2001）著作7~8本：Topics of Our Time. Twentieth-Century Issues in Learning and in Art. 影響"漢清講堂"相關的影片製作：《藝術的故事》、《藝術與錯覺》、《理想與偶像》、《秩序感》、《藝術與科學》、《圖像與眼睛》、《藝術與人文科學》、《象徵的圖像》、
2. 北京代賣戴明學院的書、廣州請寶成Nike 事業部的朋友 (2002?)
3. James 訪漢清講堂，可惜沒作影片
4. 精彩的blogger：加拿大每日美景美食
台北書緣 (7)：孫景武(James Sun )兄倫敦帶回貢布里希（Ernst Hans Josef Gombrich， 1909 -2001）著作7~8本：Topics of Our Time. Twentieth-Century Issues in Learning and in Art. 影響"漢清講堂"相關的影片製作：《藝術的故事》、《藝術與錯覺》、《理想與偶像》、《秩序感》、《藝術與科學》、《圖像與眼睛》、《藝術與人文科學》、《象徵的圖像》、 江青《念念》(2021)。 思念的人，疫情之前，之中，轟烈的愛情及其他：：張毅、李名覺（Ming Cho Lee，1930－2020）、傅聰、余英時、李行，蔡瀾、周龍章、高行健、艾未未、夏陽……
Mr. Lee, emeritus professor at the Yale School of Drama, was a Tony Award winner for the 1983 play “K2,” about two climbers scaling that titular Himalayan peak, for which he put a huge, icy, Styrofoam-and-wood mountain onstage at the Brooks Atkinson Theater on Broadway.
“The very fact that the Atkinson’s curtain goes all the way up as the evening begins creates its own stir of excitement,” Walter Kerr wrote of the production in The New York Times, “almost before we’ve been able to take in the full, ravaged splendor of designer Ming Cho Lee’s pitted pillar of crystal. We are so accustomed to curtains that welcome us by crawling halfway up the arch and then halting, with the emptiness above cut off by an artificial ceiling, that the curtain’s failure to stop midway is startling.”
“Dance demands the purest kind of designing,” he told The Times in 1975, “because you’re dealing with the abstract essence of a dramatic statement, which I express either in sculpture or painting. There are no hours of dealing with props or cigarettes or where the ice box should go, as you must with a play.
“Next to dance, I enjoy designing opera and Shakespeare, which also take design away from the literal situation. I’m very bad on props. I don’t like shopping around for them. That’s why my Broadway career has never been very strong.”
The comment was characteristically self-deprecating; at the time he made it, he already had more than 20 Broadway credits as designer or assistant designer, and he would add another 10 by the end of his career. In 2013 he received another Tony Award, for lifetime achievement.
“Though postmodern approaches to design, particularly in opera, moved beyond Lee’s aesthetic,” Professor Aronson said, “they would not have been possible without the revolution he inspired in the 1960s and ’70s.”
沒有留言:
張貼留言