父亲死后，乡下来的梨烟被早年订下婚约的江城富豪温家接到城里，温父指明，三个儿子，梨烟看上谁就嫁给谁，并且还会赠送温氏公司百分之二十的股份，一时，全城热议。网友们纷纷吐槽她不配!谁知一次次露脸后，众人的...

新婚夜，许青姨撞破夫君谢淮安与怀孕陪嫁丫鬟的丑事，她不哭不闹，直奔老夫人面前请命。面对谢家的愧疚与处置权，她拒合离、不追责，反而提出惊世请求 —— 改嫁卧床半年的植物人兄长谢韵芝，还愿为谢家绵延子嗣。此言一出满座哗然，谢家本就盼着世子留后，权衡之下应了此事。谢淮安气急败坏却无力阻拦，而许青姨则借此摆脱怨偶命运，一步踏入侯府最好的宅院，开启了全新的人生棋局。

it was interesting to see the acrobatic Japanese actors of the Tenjosajiki company in Shuji Terayama’s Directions to servants. The title and some of the text were taken from Swift’s satire, but the main inspiration seemed to come from Genet’s Les bonnes. Multiplying the maids into a large cast of servants, male and female, who take it in turns to imitate the master, Tereyama has physicalized and partly mechanized the action. Domination is imposed partly through machines—we see a man submitting to an imperious voice on a tape recorder, lowering his trousers and climbing inside a sadistic machine that beats his bare buttocks. 　　The ingenuity, the sadism and the offbeat humour are all characteristic of the production. The main cruelty to the audience was in the over-amplification of J.A. Seazer’s music. I sat with my hands over my ears for a lot of the time. The visual assault was almost equally strong, and some of the theatrical imagery was quite unlike anything that had been seen in this country. In one meticulously choreographed sequence the servant playing at being master throws a bone to a succession of servants who play at being dogs. In another, a servant trying to steal food from a cupboard is terrified to find that it is like a puzzle: each panel conceals a face that sings at him accusingly, and he can silence it only by sliding a panel that reveals another singing face.

it was interesting to see the acrobatic Japanese actors of the Tenjosajiki company in Shuji Terayama’s Directions to servants. The title and some of the text were taken from Swift’s satire, but the main inspiration seemed to come from Genet’s Les bonnes. Multiplying the maids into a large cast of servants, male and female, who take it in turns to imitate the master, Tereyama has physicalized and partly mechanized the action. Domination is imposed partly through machines—we see a man submitting to an imperious voice on a tape recorder, lowering his trousers and climbing inside a sadistic machine that beats his bare buttocks. 　　The ingenuity, the sadism and the offbeat humour are all characteristic of the production. The main cruelty to the audience was in the over-amplification of J.A. Seazer’s music. I sat with my hands over my ears for a lot of the time. The visual assault was almost equally strong, and some of the theatrical imagery was quite unlike anything that had been seen in this country. In one meticulously choreographed sequence the servant playing at being master throws a bone to a succession of servants who play at being dogs. In another, a servant trying to steal food from a cupboard is terrified to find that it is like a puzzle: each panel conceals a face that sings at him accusingly, and he can silence it only by sliding a panel that reveals another singing face.

父亲包著石膏躺在客厅沙发，不愿卸下患者的身份，胜文在驾训班教练车内盯著一旁的教练，他不想面对家裡以及不断在逃避的父亲，但似乎也无法面对身旁这位教练，渐渐的，胜文融入了他父亲的倒影。

本是英国豪宅女仆的雀，却因某件事情独自一人来到日本生活。第一次体验海外独居生活，雀对一切感到好奇新鲜，尤其是对食物欲罢不能……

本是英国豪宅女仆的雀，却因某件事情独自一人来到日本生活。第一次体验海外独居生活，雀对一切感到好奇新鲜，尤其是对食物欲罢不能……

当代卷王猝死职场，魂穿到江阳侯府贵妾叶清芷身上。这一世的叶清芷爹不疼、后娘不爱，被妹妹算计、抢走了未婚夫后，替嫁到了侯府，而这场替嫁只是为了家族的皇商生意，却没想到，江阳侯府的后院是个修罗场，刚进门就被姚茵茵推进水里淹死。重生后，叶清芷幡然醒悟，誓要好好活着。于是，叶清芷将侯府当职场、将江阳侯谢晋当做首要KPI，巴结侯爷谢晋、夫人张静怡，时时刻刻牢记为妾的职业操守，只做宠妾，绝不越级……

简若楠穿成一本小说的恶毒女配,是被侯府小妾偷换的真千金。好不容易逃回京城认亲，却被拿来与假千金处处比较，假千金啥都好,她除了吃吃喝喝,啥都不会,废物对照组一枚。好在她绑定了吃瓜系统,每天的日子就是咸鱼躺吃瓜。

被冻死在冰湖那夜，全侯府悔疯了。 我回归时父亲已经靠着我对太子的救命之恩封了侯爷。 不仅如此他还收了一个养女。 在他眼里如今的我早已一文不值。 便对我苛刻至极。 哪怕太子下了聘礼要明媒正娶我为太子妃。 他也只当太子是来报恩的。 对那一份份厚重的聘礼。 他张口就要伸手就拿。 全然不顾我的感受。