Quelques mois avant son entrée à l’Académie française ( 1972 ), Claude Lévi-Strauss revient sur son itinéraire et sa pensée dans un entretien exceptionnel accordé à Jean-José Marchand. A partir de ces archives uniques, Pierre Beuchot réalise en 2004 un portrait qui reste la meilleure des introductions à l’œuvre de Claude Lévi-Strauss.

Cast 　　Leonie Rysanek .... Elektra 　　Astrid Varnay .... Clitamestra 　　Catarina Ligendza .... Crisotemis 　　Dietrich Fischer-Dieskau .... Orestes 　　Hans Beirer .... Egisto 　　Josef Greindl .... Criado 　　Kurt Böhme .... Ein alter Diener 　　Christopher Doig .... Ein junger Diener 　　Olga Varia .... Die Schleppenträgerin 　　Carmen Reppel .... Die Vertraute 　　Colette Lorand .... Die Aufseherin 　　Rolf Boysen .... Agamenon 　　Konzertvereinigung Wiener Staatsopernchor 　　Wiener Philharmoniker 　　Karl Böhm .... conductor

“化生”出自《金刚经》，梵语upapa^duka，臺北教育大學北師美術館序曲展短片作品。台灣資深燈光師李龍禹先生參與拍攝的最後一部作品。

“化生”出自《金刚经》，梵语upapa^duka，臺北教育大學北師美術館序曲展短片作品。台灣資深燈光師李龍禹先生參與拍攝的最後一部作品。

he last production staged by Patrice Chéreau, this Elektra will remain as the main and most striking lyrical event of these last years in Aixen-Provence. 　　In 1903, Richard Strauss attended a performance of Elektra, a play by the Viennese poet Hugo von Hofmannsthal based on the tragedy by Sophocles. Three years later, Strauss came to an understanding with Hofmannsthal on a lyric adaptation of the play. Even though tepidly received at its premiere on 25 January 1909 in Dresden, Elektra quickly won over audiences and today occupies an enviable place in the repertoire of opera houses the world over. With its clear-cut contrasts and telluric power, it is one of the most scathing masterpieces of the whole lyric repertoire. 　　Elektra comes in the wake of Salome with the same dimensions (a single act lasting approximately an hour and three-quarters), a story taking place in ancient times, extreme feelings, and devastating violence. Frenzied unity of place, time and action, with the drama unfolding in the courtyard of the palace in Mycenae, in real time. It tells how Elektra, daughter of King Agamemnon, keeps alive the memory of her father, murdered upon his return from Troy by his wife, Clytemnestra, and her lover, and dwells only on vengeance. And how this vengeance finally comes about. 　　This production is led by three amazing singers: the German soprano Evelyn Herlitzius gave a tremendous, never-to-be-forgotten account of the title role, Waltraud Meier portrays a human and chilling Clytemnestra and Adrianne Pieczonka is a fantastic Chrysothemis. 　　Everyone’s loneliness and intimate struggles are Patrice Chéreau’s favorite theatrical themes. With Esa-Pekka Salonen conducting the Orchestre de Paris, this production of Elektra becomes an unforgettable experience.

优步这两个字已经充斥了我们的生活。六年前出现的这个应用颠覆了出租车行业，而以此命名的新型经济模式“优步化经济”则席卷了各个领域。它的发展和智能手机密不可分。它免除了供给方和需求方之间的中介，并为消费者和服务者设置了评分体系。而有时，它也会成为法律和税务体制中的敏感话题。 几个星期里，记者皮埃尔-奥利维耶·拉贝决定完全通过应用程序解决自己的衣食住行，百分百地优步化自己的生活。 这种新型经济是如何运行的？它会造成失业增长和工作的不稳定吗？消费者会怎样获益？