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.

阿奴为筹钱卖身王府，因拒当姨娘故意扮丑，却被世子娄玄毅选中。她冒失闯祸却身怀绝技救了娄玄毅，娄玄毅渐被吸引处处维护。阿奴发现他并非传闻不堪，两人情愫渐生，携手拨开王府阴谋迷雾。

阿奴为筹钱卖身王府，因拒当姨娘故意扮丑，却被世子娄玄毅选中。她冒失闯祸却身怀绝技救了娄玄毅，娄玄毅渐被吸引处处维护。阿奴发现他并非传闻不堪，两人情愫渐生，携手拨开王府阴谋迷雾。

傲婿当道

拉帕（塔纳瓦特·瓦塔纳普迪 Thanawat Wattanaputi 饰）是衔着金汤匙出生的千金大少也，他的父亲经营着一家非常硕大的酒店公司，拉帕的整个童年都是在富裕和母亲潺潺无尽的爱之中度过的。然而，一切都在某一日母亲不幸去世之后发生了改变，父亲很快就迎娶了新人，就这样，拉帕有了一位继母和两个妹妹葛婷（纳瓦拉·翁瓦莎娜 Nutwara Vongvasana 饰）、苏暖（黛安娜·芙丽珀 Diana Flipo 饰）。 　　拉帕非常讨厌自己的两个妹妹，尤其是葛婷。葛婷在整个家里都不受待见，因为她饰抢劫犯的女儿。只有拉帕的保姆对葛婷疼爱有加，她不仅在生活上处处照顾葛婷，还教会了她如何成为一个善良正直的女孩。

拉帕（塔纳瓦特·瓦塔纳普迪 Thanawat Wattanaputi 饰）是衔着金汤匙出生的千金大少也，他的父亲经营着一家非常硕大的酒店公司，拉帕的整个童年都是在富裕和母亲潺潺无尽的爱之中度过的。然而，一切都在某一日母亲不幸去世之后发生了改变，父亲很快就迎娶了新人，就这样，拉帕有了一位继母和两个妹妹葛婷（纳瓦拉·翁瓦莎娜 Nutwara Vongvasana 饰）、苏暖（黛安娜·芙丽珀 Diana Flipo 饰）。 　　拉帕非常讨厌自己的两个妹妹，尤其是葛婷。葛婷在整个家里都不受待见，因为她饰抢劫犯的女儿。只有拉帕的保姆对葛婷疼爱有加，她不仅在生活上处处照顾葛婷，还教会了她如何成为一个善良正直的女孩。

于大朋教官从美受训返国受令负责训练我国第一批飞行员去接收新型战机的工作,受训学员皮向取,方乾元,周际旦,何可法等人报到后,由于于的严格训练所有学员大喊不消,众心便希望能找出教官的弱点,却被于发现其计谋而前工尽弃,于大朋童年好友机工士官刘孝凯与徒弟马玺是基地的一对活宝贝,刘员爱上了护理长小莲却给徒弟马玺弄巧反拙,让小帅哥方乾元捷足先登.小方邀同学皮等人假日出游,不但小莲未来,反而让小皮与女友田恬不愉快的心结提前爆发出来,皮为了躲离感情的枷锁刻意在飞行技术上求个人表现,却让好友小方差点无命,由于内心遣责而自请处分退出得来不易的飞行线,反而小方痛斥是个儒夫,不愿大家当初共同立下志愿,黯然离去.

拉帕（塔纳瓦特·瓦塔纳普迪 Thanawat Wattanaputi 饰）是衔着金汤匙出生的千金大少也，他的父亲经营着一家非常硕大的酒店公司，拉帕的整个童年都是在富裕和母亲潺潺无尽的爱之中度过的。然而，一切都在某一日母亲不幸去世之后发生了改变，父亲很快就迎娶了新人，就这样，拉帕有了一位继母和两个妹妹葛婷（纳瓦拉·翁瓦莎娜 Nutwara Vongvasana 饰）、苏暖（黛安娜·芙丽珀 Diana Flipo 饰）。 　　拉帕非常讨厌自己的两个妹妹，尤其是葛婷。葛婷在整个家里都不受待见，因为她饰抢劫犯的女儿。只有拉帕的保姆对葛婷疼爱有加，她不仅在生活上处处照顾葛婷，还教会了她如何成为一个善良正直的女孩。

拉帕（塔纳瓦特·瓦塔纳普迪 Thanawat Wattanaputi 饰）是衔着金汤匙出生的千金大少也，他的父亲经营着一家非常硕大的酒店公司，拉帕的整个童年都是在富裕和母亲潺潺无尽的爱之中度过的。然而，一切都在某一日母亲不幸去世之后发生了改变，父亲很快就迎娶了新人，就这样，拉帕有了一位继母和两个妹妹葛婷（纳瓦拉·翁瓦莎娜 Nutwara Vongvasana 饰）、苏暖（黛安娜·芙丽珀 Diana Flipo 饰）。 　　拉帕非常讨厌自己的两个妹妹，尤其是葛婷。葛婷在整个家里都不受待见，因为她饰抢劫犯的女儿。只有拉帕的保姆对葛婷疼爱有加，她不仅在生活上处处照顾葛婷，还教会了她如何成为一个善良正直的女孩。