Dylan Moran live at Sydney's State Theatre 15th May 2009

No music reviewer would make a career writing about pianists solely from repeated performances of a single concerto, nor any pianist out of playing just the one piece. Yet sometimes writing about stand-up comedians can feel worryingly like this. They all hit more or less the same notes: London... young people... children and parenthood... today's dreadful music... religion... growing up in Ireland (obviously not every comic includes this movement, though sometimes it feels like it)... finishing off with differences between men and women, usually with reference to naughty bits and/or naughty business. The difference lies in the phrasing, the flourishes, the individual expression brought to the work by the performer. 　　Dylan Moran, appearing for seven nights at the West End's Palace Theatre while it spends the summer between blockbuster musicals, plays the standard concerto. It's in the phrasing that his skill resides. His slurred, bellowing delivery and shambling, half-cut persona (although in almost two hours he put away perhaps a third of a glass of white wine) are no longer as novel as they once were, but they belie a greater than average discipline in his material. 　　Moran certainly has a gift for the surreal image and the unexpected adjective, but his spontaneous flights of fancy are brief and a little diffident. He prefers to hone his phrases and seems to script them quite tightly; like a snooker player, he can control exactly the angle at which the ball will come off the back cushion. At times he simply sounds like an early-middle-aged grouch, berating young people for "texting each other because they've given up on speech", but when he stretches out and lets fly with his magnificent vocabulary, he's in a different league. He can use a near-nonsense word like "quadrangulate" meaningfully, or wonder about Ann Widdecombe's voice, "How do you get that many fingernails on one blackboard?" Sometimes the word-images work through bizarreness, sometimes they're simply there to add colour or emphasis in unexpected ways: a granny mentioned in passing is so much less prosaic when she's an emphysemic granny. And the mere phrase "fellating a Smurf" is as euphonious as the image it evokes is disconcerting. 　　Moran's growing film and TV career are vying with his live work for supremacy now, and indeed he's slightly less appealing a performer on stage than one might expect. But the words, oh, the words...! 　　Written for the Financial Times.

Dylan Moran, star of Black Books, Shaun of the Dead and Run Fat Boy Run is about to spread a little happiness with a brand new live DVD for 2011. Ageing, religion, kids and relationships intertwine with the general absurdities of life. Searing observations and sumptuous imagery, painted across a large fraying canvas with cruel, curmudgeonly 'Moranesque' brush strokes are all delivered with Dylan's renowned, shambolic charm… 　　Simply unmissable. 　　"It didn’t falter for a moment. This is stand-up comedy of the first order... scarcely a word wasted... seriously good fun" The Times

Dylan Moran stand-up comedy, live.

这是一部围绕“酱油与文化”展开的片子，聚焦与酱油有关的历史、科学、工艺、食用内容。在这之中:“中国文化”是酱油的源头活水，“饮食文化”是酱油的进化土 壤，“酿造文化”是酱油的根本所在，“工业文化”是酱油的革新推动！

在这个视觉震撼的节目中，着名的艺术评论家马修·科林斯带我们对艺术美的主题进行了深思熟虑的非凡探索。科林斯探索永恒的原则，解释了我们从皮耶罗·德拉·弗朗西斯卡，米开朗基罗，马格利特，高更和美国艺术家罗伯特·劳森伯格等人的作品中的美丽艺术所带来的愉悦。

表演硕士张月娥，为纪念未婚夫，留校担任“中文剧社”指导老师。王丽花靠伪造金饰品捞钱。张月娥带领学生排练话剧《幸福是什么》，学生拉赞助时碰到王丽花，王丽花答应提供赞助，但要求王蓉和刘晶晶担任公司形象代言人。两个女生跟“金龙饰品”签约，并经常出席“金龙钻石”的活动。广州商人黄钢是“金龙饰品”的大主顾，王丽花为了贿赂黄钢，不仅自己色诱黄钢，还打算把王蓉和刘晶晶献给黄钢。刘晶晶喜欢物质享受，对张月娥的精神追求不屑一顾。张月娥担心王蓉和刘晶晶被骗，前去和王丽花谈判，却被黄钢看中。王丽花把王蓉和刘晶晶骗到广州，想把她们献给黄钢，张月娥帮助她们连夜赶回学校。王蓉和刘晶晶离开王丽花，认真投入话剧《幸福是什么》的排练。王丽花被依法逮捕，话剧《幸福是什么》公演大获成功。

讲述28岁的OL小照，持续单恋一位并不喜欢自己的男生，对他言听计从，ysgou.cc为他献上自己的所有精力、时间。

《爱情是什么》剧反映的，是韩国两个普通家庭的酸甜苦辣的日常生活，所塑造的人物形象，几乎个个棱角鲜明，栩栩如生：具有现代女性新思想、勇于追求爱情幸福的朴知恩；既有传统的大男子主义思想、却又在媳妇面前嘴硬心软的李大发；集孝媳、贤妻、良母于一身却难以放弃己见的韩心爱；勤俭持家、惧怕丈夫而又爱挑别人毛病的余顺子；既是孝顺儿子、又是温柔丈夫、还是慈祥父亲的朴昌奎；具有严重的大男子主义思想、严厉刻薄的李炳浩；以及憨厚稚气的朴正燮，天真烂漫但对婚姻近乎于心理变态的朴正恩；纯洁美丽、虽惧怕父亲但为追求理想而不惜离家出走的李圣实；还有性格各异的三位奶奶，等等，无不给人留下深刻印象。 　　在情节展开方面，偶然中暗含着必然，必然中夹杂着意外，常常使人忍俊不禁。如围绕主人公朴知恩与李大发新思想与旧观念的矛盾冲突，展开了一系列充满喜剧色彩的故事情节。特别是一些细节的刻划，突出了人物性格，使人物形象更加丰满、真实、可亲。如男主人公之一的李炳浩虽然是出了名的吝啬、大男子主义，但他却把亲家赠送的大彩电送给了敬老院，因为“老人们更需要它”；当他与亲家翁有了关于男人女人的谈话之后，尽管当着亲家的面嘲笑对方对老婆太“软弱”、有失男人的尊严，但当他回去后，却对老婆宣布要盖一座比亲家的房子还要漂亮的房子，而且对老婆、女儿的态度有了很大的转变，让老婆、女儿对这位刻薄的“怪物”、严厉的父亲开始刮目相看，等等，不胜枚举。 　　该剧最打动人的，是它的语言，即人物对白，生动活泼，风趣幽默，平直中透露着机智，舒缓中饱含着张力。如李大发和朴知恩关于“男人是天、女人是地”、“不许翘尾巴”等的争论，婚后互不“买帐”的斗嘴；三姨奶奶对奶奶的不满和挖苦；余顺子不甘心丈夫的“独裁”偶尔发发牢骚；李炳浩自恃给老婆买了个钻石戒指而总有点有恩于人一般的自豪感，不料气急了的老婆并不感恩戴德，于是便可听见一边是李炳浩“戒指”、“戒指”的提醒与要挟，一边是余顺子不管不顾的先吐而后快......这些充满生活气息、洋溢着人物个性的风趣的语言，给人们带来会心的笑声，但丝毫不会让人感到做作和浅薄。不像我们某些电视剧，让角色一个劲地耍贫嘴。当然，这其中除了演员们高超的演技外，还有央视配音演员的一份功劳。正是他们出色的配音，给角色增加了艺术感染力，也给电视剧增色不少。