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。

美食博主安浓浓遭闺蜜和男友陷害离世，成为御膳房小宫女，开局就遭遇滑贵妃刁难。她凭借智慧做出精美点心，获皇帝称赞。新春围猎、雪中起舞更是让安浓浓大放异彩。之后她以高超厨艺在御膳房站稳脚跟，推动皇宫营养计划。然而，暗处危机四伏，稀贵妃与吴太医私下密谋，安浓浓与齐贵人布局引蛇出洞，一举击溃宫中阴谋。面对皇帝的爱慕，一边是爱情，一边是名垂青史的功绩，她将如何抉择

有鬼医马甲的南依替父顶罪出狱后，被父亲用双胞胎儿子威胁，嫁给司墨寒冲喜后，意外得知自己的小儿子身死，悲痛万分。

本剧改编自河北承德话剧团的话剧《懿贵妃》，女主角慈禧由蒋宝英主演，并凭此剧1983年荣获第3届中国电视剧飞天奖演员特别奖。电视剧《懿贵妃》是当时河北录制的第一部电视连续剧，分上、中、下三集，因为情节曲折、引人入胜，不仅在国内反响强烈，而且被中央电视台介绍到了德国、波兰等国，并产生了一定影响。

有鬼医马甲的南依替父顶罪出狱后，被父亲用双胞胎儿子威胁，嫁给司墨寒冲喜后，意外得知自己的小儿子身死，悲痛万分。

本剧改编自河北承德话剧团的话剧《懿贵妃》，女主角慈禧由蒋宝英主演，并凭此剧1983年荣获第3届中国电视剧飞天奖演员特别奖。电视剧《懿贵妃》是当时河北录制的第一部电视连续剧，分上、中、下三集，因为情节曲折、引人入胜，不仅在国内反响强烈，而且被中央电视台介绍到了德国、波兰等国，并产生了一定影响。

第3届上海国际艺术节首演。京剧《大唐贵妃》突出了唐玄宗李隆基和杨玉环的真诚爱情。唐玄宗在爱情上有真挚的一面又有荒淫的一面。剧中，退位后的唐明皇日夜思念杨贵妃，表现他的人性复归。由此，引起观众一连串的思考，加大戏的人文价值和讽谏意义。