1896年6月13日，李鸿章从俄罗斯乘火车前往德意志帝国进行访问，下榻于柏林豪华的恺撒大旅馆。李鸿章访德期间，受到官方和商界的热烈欢迎。因为他曾是德国军火器械的大主顾，德国盼望通过他进一步开拓中国市场，因而频频洽谈，处处宴请。德意志帝国政府殷勤款待，甚至连李鸿章常吸的雪茄烟、常听的画眉鸟，也“陈于几（茶几）而悬于笼”。寝室墙壁上，高悬照片两张大幅照片：左边是李鸿章，右边是德国前首相俾斯麦。

1896年6月13日，李鸿章从俄罗斯乘火车前往德意志帝国进行访问，下榻于柏林豪华的恺撒大旅馆。李鸿章访德期间，受到官方和商界的热烈欢迎。因为他曾是德国军火器械的大主顾，德国盼望通过他进一步开拓中国市场，因而频频洽谈，处处宴请。德意志帝国政府殷勤款待，甚至连李鸿章常吸的雪茄烟、常听的画眉鸟，也“陈于几（茶几）而悬于笼”。寝室墙壁上，高悬照片两张大幅照片：左边是李鸿章，右边是德国前首相俾斯麦。

1979年，让·基尔伯恩(Jean Kilbourne)为剑桥纪录片公司制作了《温柔地杀死我们》(Killing Us Softly)。这部讲述性别歧视和广告之间关系的纪录片震动了美国，随后在1987年、1999年、2010年和2019年都有新版本问世。（摘自《服美役：美是如何奴役和消费女性的》）

1979年，让·基尔伯恩(Jean Kilbourne)为剑桥纪录片公司制作了《温柔地杀死我们》(Killing Us Softly)。这部讲述性别歧视和广告之间关系的纪录片震动了美国，随后在1987年、1999年、2010年和2019年都有新版本问世。（摘自《服美役：美是如何奴役和消费女性的》）

On the day of fishing, inside and outside the prefecture, a drunken man is killed and killed. She demanded a house without any demand, and the inside and outside of the present day temporarily come into her house, but her wife, MiYoung, dislikes her. While she was suffering from nervous breakdown, Mi-young met Jean who lived around Susan's house and found out that she was a hostess, but Jean was rather trying to rape her. After her death, Mi-young was imprisoned in a mental hospital. . Later, Susan pleaded with her to leave. Because Sujin was miserable in his marriage, he was desperate for the misfortunes of Mi-Young and Wen-il.

On the day of fishing, inside and outside the prefecture, a drunken man is killed and killed. She demanded a house without any demand, and the inside and outside of the present day temporarily come into her house, but her wife, MiYoung, dislikes her. While she was suffering from nervous breakdown, Mi-young met Jean who lived around Susan's house and found out that she was a hostess, but Jean was rather trying to rape her. After her death, Mi-young was imprisoned in a mental hospital. . Later, Susan pleaded with her to leave. Because Sujin was miserable in his marriage, he was desperate for the misfortunes of Mi-Young and Wen-il.

欧文和艾德饰演两兄弟，他们奇怪的母亲自小就让他们以为父亲死了。当谎言被拆穿，他们便开始了寻父之旅。

The process of being encroached by the persona.

The process of being encroached by the persona.

该剧于2015年5月16日在德国柏林邵宾纳剧院首演； 　　改编自雅丝米娜·雷札的同名戏剧，德语由托马斯·奥斯特迈尔和弗洛里安·博尔希梅耶翻译，这是托马斯·奥斯特迈尔第一次将雷札的作品搬上舞台，雷札本人也参与了该剧的创作。 　　这出戏几乎完全是在露天进行的，在一天即将结束的时候。我从来没有在我的戏剧中讲过故事，所以现在仍然是这样也就不足为奇了。除非你把摇摇欲坠、起伏的生命结构本身看作一个故事。(雅丝米娜·雷札) 　　German translation by Thomas Ostermeier and Florian Borchmeyer 　　A man and a woman in a car-park outside a country restaurant. She, single mother and pharmaceutical technician Andrea, is still in the car. Her lover, glazing entrepreneur Boris, is trying to persuade her to get out – despite the faux pas he has just committed: mentioning the fact that this restaurant was recommended to him by his wife... »Bella Figura« explores the evening that follows this fatal mistake. A short while later, another couple enters the scene: Eric and Françoise, accompanied by Eric’s mother, Yvonne. It soon transpires that they are connected to the first couple in an unfortunate way. 　　This play is almost entirely set in the open air, on a day which is drawing to a close. I have never told stories in my plays so it should come as no great surprise that this is still the case. Unless you consider the faltering, heaving fabric of life itself to be a story. (Yasmina Reza) 　　For the first time, Thomas Ostermeier stages a play by Yasmina Reza. The author wrote the work specifically for the Schaubühne ensemble.