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#Yang Hsiung
venomsreviews · 2 years
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Yang Hsiung in The Twelve Fairies (1990)
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the-monkey-ruler · 2 months
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Chinese Mythology Stories (1983) 中國神話故事-西遊記
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Director: Chen Lie Screenwriter: Yeung Wai-Man Starrring: Jin Chao-Chun / Chang Fu-Chien / Sun Jia-Lin / Yang Hsiung / Barry Chan / Wu Xue-Fen / Zeng Ya-Jun / Yeung Wai-Man / Wang De-Zhi / Chiang Kuang-Chao / Ko Hsiao-Pao Genre: Fantasy Country: Taiwan Language: Mandarin Date: 1983-05-31 Number of episodes: N/A Also known as: 中国神话故事 Type: Retelling
Summary:
Several folk legends from different dynasties are actually gathered together. Nezha, Jigong, Door God, Xu Xian, Bai Suzhen... Could it be that these characters are going to gather together to perform some kind of comedy?! Don't make blind guesses! They came together just to show some kind of "propaganda effect"; to promote the upcoming "Chinese Mythology Story"; these legendary characters will all bring out a touching Chinese mythology story. "Chinese Mythical Stories" is a unit theater that CTV will open at 1:00 pm on weekends. Currently, the recording of three unit stories of "Nezha", "Ji Gong" and "The Legend of White Snake" has been completed. It is scheduled to start on May 28 or Saturday. Launched on the 4th. Wang Weijiang went from the front to the back, and co-produced the "Chinese Mythology" unit theater with Wei Xin to realize an ideal, that is, to introduce various folk beliefs through the moving myths and stories circulated in our country's long history of thousands of years. In the creation of the protagonist's character, special emphasis is placed on his method of becoming an immortal and attaining enlightenment - inner cultivation and saving people and saving the world, in order to remind the audience that faith should not be turned into superstition. Such a theme has considerable social and educational significance. Wang Weijiang said that "Chinese Mythical Stories" is a social and educational program produced in the form of drama. It is quite difficult for the social education style and drama type to deeply move people's hearts; because this is equivalent to using the strengths of drama - the drama of twists and turns to make up for the shortcomings of social education - the rigid boring feeling; the "Chinese mythology story" The production is exploring such a new route. If successful, it will be a major breakthrough for TV programs. Judging from the production method of "Chinese Myth Stories", this "new line" that breaks the boundaries between drama and social education has great potential and great potential. The legendary mythical story, through DPE's latest TV effects machine, makes the picture show magical special effects, how fascinating it will be! Since it is a myth, it can perform special effects, and the scenes can be as magical and varied as possible.
Source: https://en.hkcinema.ru/film/20385
Link: N/A
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libertariantaoist · 10 months
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DAILY SELECTIONS FROM LAO-TZU’S TAO TE CHING — MAY 24, 2023
“The reason the sea can govern a hundred rivers is because it has mastered being lower thus it can govern a hundred rivers hence if sages would be above the people they should speak as if they were below them if they would be in front they should act as if they were behind them thus when sages are above the people aren’t burdened when they are in front the people aren’t obstructed the world never wearies of pushing sages forward and because they don’t struggle no one can struggle against them” -Lao-tzu- (Taoteching, verse 66, translation by Red Pine) YEN TSUN says, “Rivers don’t flow toward the sea because of its reputation or its power but because it does nothing and seeks nothing.” TE-CH’ING says, “All rivers flow toward the sea, regardless of whether they are muddy or clear. And the sea is able to contain them all because it is adept at staying below them. This is a metaphor for sages, to which the world turns because they are selfless.” LU HUI-CH’ING says, “When sages possess the kingdom, they speak of themselves as ‘orphaned, widowed, and impoverished’ or ‘inheritor of the country’s shame and misfortune.’ Thus, in their speech, they place themselves below others. They do not act unless they are forced. They do not respond unless they are pushed. They do not rise unless they have no choice. Thus, in their actions, they place themselves behind others.” HO-SHANG KUNG says, “When sages rule over the people, they don’t oppress those below with their position. Thus, the people uphold them and don’t think of them as a burden. When sages stand before them, they don’t blind them with their glory. Thus, the people love them as parents and harbor no resentment. Sages are kind and loving and treat the people as if they were their children. Thus, the whole world wants them for their leaders. The people never grow tired of them because sages don’t struggle against them. Everyone struggles against something. But no one struggles against those who don’t struggle against anything.” SU CH’E says, “Sages don’t try to be above or in front of others. But when they find themselves below or behind others, the Tao can’t help but lift them up and push them forward.” YANG HSIUNG says, “Those who hold themselves back are advanced by others. Those who lower themselves are lifted up by others” (Fayen: 7). LI HSI-CHAI says, “The people aren’t burdened when sages are above them, because the people aren’t aware they have a ruler. And the people aren’t obstructed when sages are before them, because sages aren’t aware the people are their charges.” WANG CHEN says, “Through humility sages gain the approval of the people. Once they gain their approval, they gain their tireless support. And once they gain their tireless support, struggling over rank naturally comes to an end.”
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byneddiedingo · 1 year
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Yu-Wen Wang, Chien-Lien Wu, and Kuei-Mei Yang in Eat Drink Man Woman (Ang Lee, 1994)
Cast: Sihung Lung, Yu-Wen Wang, Chien-Lien Wu, Kuei-Mei Yang, Sylvia Chang, Winston Chao, Chao-jung Chen, Chit-Man Chan, Yu Chen, Ah-Lei Gua. Screenplay: Ang Lee, James Schamus, Hui-Ling Wang. Cinematography: Jong Lin. Production design: Fu-Hsiung Lee. Film editing: Tim Squyres. Music: Mader.
Ang Lee's Oscars for directing Brokeback Mountain (2005) and Life of Pi (2012) suggest something of his versatility. But then, Lee's filmography is all over the map: Since he returned to the United States after starting his directing career in Taiwan, he has made a Jane Austen adaptation, Sense and Sensibility (1995); a story of family dysfunction in Connecticut, The Ice Storm (1997); a Civil War-era Western, Ride With the Devil (1999); a martial arts epic, Crouching Tiger, Hidden Dragon (2000); a comic-book movie, Hulk (2003); an erotic thriller, Lust, Caution (2007); a story set at the fabled 1969 rock festival, Taking Woodstock (2009); and an experiment using radically new film technology, Billy Lynn's Long Halftime Walk (2016). If it's possible to discern in that almost random collection of films the kind of personal vision that auteur theorists believe is essential to the greatness of a director, I don't see it. He began with a personal vision, however, in the films he made in Taiwan after receiving his MFA in film at NYU: a focus on the conflict between the traditional and the new in Asian culture. Eat Drink Man Woman is the third of these, after Pushing Hands (1992) and The Wedding Banquet (1993), in what has been called Lee's "Father Knows Best" trilogy. Sihung Lung, who played similar roles in the other two films, is Chu, master chef at a large hotel restaurant, a widower with three unmarried daughters. The oldest, Jia-Jien (Kuei-Mei Yang), is a schoolteacher who converted to Christianity after a failed love affair; the middle daughter, Jia-Chien (Chien-Lien Wu), is a workaholic airline executive in line for a promotion that will get her transferred to Amsterdam; the youngest, Jia-Ning (Yu-Wen Wang), is still in school and works part-time at a Wendy's, where she commiserates with a co-worker whose boyfriend is inattentive -- largely because he's fallen for Jia-Ning. They all gather regularly for a Sunday dinner prepared by their father in a bravura opening sequence that details the skill and technique with which the chef creates his classic dishes. But the dinner is something of an ordeal for the daughters, each of whom is preoccupied with her own love life, as well as being concerned about the health and future of their aging parent. It's a well-plotted film, written by Lee with Hui-Ling Wang and James Schamus, whom Lee met at film school and who became his frequent producer and co-writer. Tim Squyres is the film editor whose work shines in the opening food-preparation sequence and in the intercutting of the daughters' several stories, and the cinematography by Jong Lin gives us an effective traveling shot through the crowded kitchens of the hotel restaurant. But the movie stays on a superficial level when it comes to examining the lives of the Chu family, especially when you compare it to another family drama by a Taiwanese director, Edward Yang's Yi Yi (2000), whose characters have a depth lacking in Lee's film. With his versatility and technical prowess, Lee reminds me most of a classical Hollywood director like William Wyler, who gave us brightly polished entertainments as varied in tone and genre as Roman Holiday (1953), Ben-Hur (1959), and Funny Girl (1968), but without showing us anything of himself as an artist.
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ericayuwenhuang · 6 months
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Here is where we meet
Here is where we meet 2023/06/29-10/15 Venue: Chiayi Art Museum 1F-3F Supervisors:Ministry of Culture, Chiayi City Government Organizers:Chiayi Art Museum, Tianmei Art Foundation Collaborators:TKG+, Mind Set Art Center, Each Modern Curator:Erica Yu-Wen Huang Artists:Wang Po-Yen, Wu Chuan-Lun, Lin Yi-Hsuan, Lin Ying-Chieh, Chiu Chen-Hung, Chang Chih-Chung, Zhang Xu-Zhan, Chang Cheng-Chun, Chuang Ho, Kuo Yu-Ping, Chen I-Chun, Chen Sung-Chih, Chen Ching-Yuan, Chen Ching-Ming, Huang Chih-Cheng, Liao Chi-Yu, Liu Chih-Hung, Cheng Nung-Hsuan, Jian Yi-Hong, Lo Yi-Chun Archive Room - Participating Artists:Ding Chien-Chung, Niu Jun-Qiang, Wang Po-Yen, Shih Meng-Hsin, Wu Chuan-Lun, Li Yi-Fan, Li Ting-Huan, Lin Hao-Bai, Lin Yi-Wei, Lin Ying-Chieh, Chiu Chen-Hung, Chiu Chien-Jen, Hung Sheng-Hsiung, Hsu Yin-Ling, Shiu Sheng-Hung, Chang Chih-Chung, Zhang Xu-Zhan, Chang Cheng-Chun, Chang San-Hsueh, Chuang Ho, Kuo I-Chen, Kuo Yu-Ping, Chen I-Chun, Chen Sung-Chih, Chen Kuan-Ying, Chen Fei-Hao, Chen Ching-Yuan, Chen Ching-Ming, Huang Chih-Cheng, Huang Xuan, Yang Han-Chiao, Liao Chi-Yu, Liao Zen-Ping, Liu Chih-Hung, Liu Feng-Ling, Cheng Nung-Hsuan, Ou Jing-Yun, Hsieh Jhou-Yu, Jhong Jiang-Ze, Lo Chan-Peng, Luo Jr-Shin, Lo Yi-Chun
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venom-mob-network · 2 years
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How many of the mob we’re from taiwan?
If we're talking about the main six, then four of them were! Sun Chien, Lu Feng, Kuo Chui, and Chiang Sheng were all from Taiwan. Lo Mang is from Hong Kong, and it is unknown where Wei Pai is from exactly.
But if we're talking about the whole mob, then there were still quite a few of them from Taiwan! For example, b-tiers Yu Tai-Ping, Yang Hsiung, Robert Tai, Ricky Cheng Tien-Chi, Li Yi-Min, and Chu Ko all came from there.
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nofatclips · 3 years
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Accented Cinema on Ang Lee’s Eat Drink Man Woman and what is a Chinese family
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mgewiss-blog · 7 years
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"We Ignore the Lingering Decline" 7/8/17 #drawing and #digitalart by Mark Gewiss
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almohamady-blog · 4 years
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Taiwan
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Taiwan, Chinese (Wade-Giles romanization) T’ai-wan or (Pinyin) Taiwan, Portuguese Formosa, island in the western Pacific Ocean that lies roughly 100 miles (160 km) off the coast of southeastern China. It is approximately 245 miles (395 km) long (north-south) and 90 miles (145 km) across at its widest point. Taipei, in the north, is the seat of government of the Republic of China (ROC;…
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pastelleia · 4 years
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NCT according to my autocorrect (credit to imthepixelatedhero)
moon tail
johnny see
leek taehyung
nakamoto puts
quan kun
limit doyoung
cheat a phone lee chaiyapornkul
jung taehyung
dong cheng
kim Kingwood
wrong yukhei
mark leek
xiao deaf jun
hendry
huang Renton
leek jeni
leek donaghy
na jasmin
yang
things change
park hsiung
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九天玄女 Jiutian Xuannü (Mysterious Woman of the Nine Heavens)
九天玄女娘娘 Jiutian Xuannü niangniang (Mysterious Woman, Damsel of the Nine Heavens)
The Mysterious Woman is and emissary of the Queen Mother of the West (Xiwang mu) and transmitted various magical arts and talismans to aid the Yellow Emperor in his battles.
The Taoist master Tu Kuang-t'ing includes a biographical account of the Mysterious Woman in his "Record of the Assembled Transcendents of the Fortified Walled City," a compendium of lives of goddesses and female saints important to the Shang Ch'ing or Supreme Qear Realm school of Taoism, of which he was a master. An English translation of part of this document follows below;
The Mysterious Woman of the Nine Heavens was the teacher of the Yellow Thearch (Huang ti) and the disciple of the Primal Ruler known as the Incomparable Mother (the Queen Mother of the West). In former times, the Yellow Thearch became ruler of the Yu hsiung Kingdom; he took Shen Nung's grandson, Yii Wang, as his assistant. Later, when all was in decline, the various feudal lords attacked each other and sought each other with a thousand swords. Based on the colour of his direction, each gave himself a cognomen after one of the five phases. The descendent of Tai Hao (Fu Hsi) called himself the Blue-green Thearch, the descendent of Shen Nung, Yii Wang, called himself the Scarlet Thearch, the descendent of Kung Kung called himself the White Thearch, and the descendent of the Ko Tien clan called himself the Black Thearch. The Thearch, arising from the Barren Wastes of Yu hsiung, called himself the Yellow Thearch. He was reverent indeed. The lower nobles turned themselves around and cultivated virtue.
After the Thearch had been on the throne twenty-one years, Ch'ih Yu set forth his calamities. His eighty-one elder and younger brothers had the bodies of wild birds and human speech; they had bronze heads with iron foreheads. They relished sand and gobbled rocks, but did not eat the five grains. They created the shapes of five tigers to harm the black-haired people, and cast weapons in the mountains of Ko Iu without using the Thearch's decree.
The Thearch, wanting to punish them, sought far and wide for talented and capable men to act as his assistants. He obtained Feng Hall at a comer of the sea and Li Mu at the Great Marsh. He made an assistant of Ta Hung; the Heavenly Elder acted as his teacher. He established the offices of the three common-lords to represent the three platforms. Feng Hou for the Supreme Platform, the Heavenly Elder for the Middle Platform, and Wu Sheng the Lower Platform.
First, the Thearch grasped the precious tripods. Without being heated on a stove, their contents were cooked. He welcomed the sun and investigated the divining stalks. He made Feng Hou his general and the son of Lady Fei Hsiu his heir apparent. He employed Chang Jo, Hsi P'eng and Li Mu. Faces radiant, they went forth on dragons. Ts'ang Chieh, Jung Ch'eng, Ta Nao, She Lung, and the flock of his vassals acted as auxiliary wings. They fought .Ch'ih Yu at Cho Iu; the Thearch and his teachers did not triumph. Ch'ih Yu created a great mist; for three days inside and outside were indistinguishable.
Following the model of the Dipper's governing mechanism, Feng Hou made a great vehicle with a handle pointing south to distinguish correctly the four directions. The Thearch, drawing upon his anxiety and grief, fasted beneath T'ai shan. The Queen Mother sent him an emissary wearing a dark fox-fur cloak. She bestowed talismans upon the Thearch, saying: "If you make your thoughts essential and then report to heaven, you will definitely receive a response from the Grand Supreme.
The Thearch dwelt for several days in the great mist, so impenetrable it obscured both daylight and the dark of night The Mysterious Woman descended into it, riding a cinnabar phoenix, holdingphosphors and clouds as reins. She wore variegated kingfisher-feather garments of nine colours. She perched before the Thearch, who repeatedly saluted her and received her command. The Mysterious Woman said: "1base myself on the teachings of the Grand Supreme. If you have any doubts, you may question me.
The Thearch kowtowed and said: "Ch'ih Yu is cruelly crossing us. His poison is harming all the black-haired people. The four seas are sobbing. no one can protect his own nature or life. I want the art of winning a myriad victories in a myriad battles. Can I cut off the harm facing my people?"
The Mysterious Woman thereupon bestowed upon the Thearch the Talisman of the Military Token of the Six Chia and the Six len, the Five Numinous Treasure Talismans and Whips, the Document on Using Ghosts and Spirits as Messengers, the Seal of the Five Bright-Shiners for Regulating the Uncanny and Communicating with the Numina, the Formula of the Five Yin and Five Yang for Concealing the CJzia, Charts for Grabbing the Mechanism of Victory and Defeat from the Ten Essences and Four Spirits of the Grand Unity, Charts of the Five Marchmounts and Four Holy Rivers, Instructions on the Essentials of the Divining Slips, jade junctures of the nine radiances, pennants of the Ten cutoffs, swords which command demons, an auroral cloud cap and fire belt pendant, dragon halberds and rainbow banners, a kingfisher carriage and green palanquin with sinuous dragons as the inner pair of the draft team and tigers riding astride, a thousand flowered canopies, eight simurgh carts, feathered flutes and mysterious staffs, rainbow standards and jade battle axes, phenomena of the divine transcendents, seals of the five dragons, pearls of the nine bright-shiners, junctures of the nine heavens: all went to make military tokens. There were five-coloured banners to distinguish the emperors of the five directions.
The Thearch subsequently restored and led all. The feudal lords fought again, driving out the demons. The scattered ill-omened creatures were placed against him in battle array. The Rain Master and Wind Sire acted as guards; responsive dragons stored up water to attack the Thearch. But the Thearch controlled them all. Thereupon he destroyed Ch'ih Yu in the wilds of Chiieh pen. At his grave mound in the township of Chung chi, the Thearch buried him, dividing his four limbs. Subsequently Yii Wang resisted the mandate and the Thearch punished him as well, in the wilds of Pan ch'iian. The Thearch pursued the Hsiin yu to the north, and greatly settled the four quadrants. He exhaustively paced to the four extremities, travelling altogether over twenty-eight thousand li. Then he cast tripods to set up the nine provinces, and established vassals of the nine courses and nine virtues to observe heaven and earth, sacrifice to the ten thousand numina, hand down models, and establish teachings.
After that he selected bronze from Mount Shou and cast tripods at Mount Ching. A yellow dragon descended to welcome him. Riding the dragon, the Thearch ascended to heaven. All of this was done on the basis of the talismans, whip, charts, and plans bestowed by the Mysterious Woman.
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libertariantaoist · 1 year
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DAILY SELECTIONS FROM LAO-TZU’S TAO TE CHING — DECEMBER 13, 2022
“The reason the sea can govern a hundred rivers is because it has mastered being lower thus it can govern a hundred rivers hence if sages would be above the people they should speak as if they were below them if they would be in front they should act as if they were behind them thus when sages are above the people aren’t burdened when they are in front the people aren’t obstructed the world never wearies of pushing sages forward and because they don’t struggle no one can struggle against them” -Lao-tzu- (Taoteching, verse 66, translation by Red Pine) YEN TSUN says, “Rivers don’t flow toward the sea because of its reputation or its power but because it does nothing and seeks nothing.” TE-CH’ING says, “All rivers flow toward the sea, regardless of whether they are muddy or clear. And the sea is able to contain them all because it is adept at staying below them. This is a metaphor for sages, to which the world turns because they are selfless.” LU HUI-CH’ING says, “When sages possess the kingdom, they speak of themselves as ‘orphaned, widowed, and impoverished’ or ‘inheritor of the country’s shame and misfortune.’ Thus, in their speech, they place themselves below others. They do not act unless they are forced. They do not respond unless they are pushed. They do not rise unless they have no choice. Thus, in their actions, they place themselves behind others.” HO-SHANG KUNG says, “When sages rule over the people, they don’t oppress those below with their position. Thus, the people uphold them and don’t think of them as a burden. When sages stand before them, they don’t blind them with their glory. Thus, the people love them as parents and harbor no resentment. Sages are kind and loving and treat the people as if they were their children. Thus, the whole world wants them for their leaders. The people never grow tired of them because sages don’t struggle against them. Everyone struggles against something. But no one struggles against those who don’t struggle against anything.” SU CH’E says, “Sages don’t try to be above or in front of others. But when they find themselves below or behind others, the Tao can’t help but lift them up and push them forward.” YANG HSIUNG says, “Those who hold themselves back are advanced by others. Those who lower themselves are lifted up by others” (Fayen: 7). LI HSI-CHAI says, “The people aren’t burdened when sages are above them, because the people aren’t aware they have a ruler. And the people aren’t obstructed when sages are before them, because sages aren’t aware the people are their charges.” WANG CHEN says, “Through humility sages gain the approval of the people. Once they gain their approval, they gain their tireless support. And once they gain their tireless support, struggling over rank naturally comes to an end.”
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hoerbahnblog · 5 years
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Lyrik: Alt-Chinesische Lyrik 2
Lyrik: Alt-Chinesische Lyrik 2
  https://literaturradiohoerbahn.com/wp-content/uploads/2019/06/Alt-Chinesische-Lyrik-verschiedene-upload-mit-Musik-2.mp3
1946 veröffentlichte der Sinologe Arthur Waley eine Auswahl seiner in langen Jahren der Forschung erfolgten Übertragungen chinesischer Lyrik aus dem Zeitraum von 1000 vor Christus bis ca. 900 nach Christus. Wir setzen den kleinen Zyklus mit “Der Albtraum” von Wang Yen-shou…
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glico-morinaga · 5 years
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TMA2018
「オープニングガラ」
・パクジュンウー 昨年のグランプリ、音とカードがうまく合わさっている。もちろんすごい。
・ワンウェイ&コゾ 現象は一つで、舞台装置の凄さに負けていた。
・森田智博 コンタクトの技術が高すぎてわろた、動きも綺麗で安定感も凄かった。
・マリオロペス 乳首とれるマジック?が凄かった。ほとんどマジックはせずトークや所作で引きつけていた。マジックを使わずパフォーマンス能力だけでここまで人を沸かせるものかと思う。マジックもやれば世界最強レベルなのだから怖すぎる。
・ジョーダンK ポテチ袋のマニュピレーションに驚く。既存技法も道具を変えるだけで効果がここまで上がるのかと思った。
・マヨーラル 靴のアクト好きじゃないから、期待してなかった。FISMで演技せずにスタンディングもらったエピソードも、演技した時よりも拍手もらってるのではないかと考えていた。本当に本当に反省した。 幕が開いた瞬間、非常に期待させる演出、上から光が降ってきてウォンドに移り帽子から火が出る。その火がディズニー映画そのもの。CGで編集した火が現実に目の前で起こる。蝋燭のパートや火が動くパート、全てで感動。脳みそがねじ切られた。終わったあとは少し泣いた。 光と火の神様でした。
「ステージコンテスト」
・Cao Yang 空中から扇子が出現する。
・前田将太 フェザーと玉、フェザーの出方が非常に綺麗で指を空中になぞるだけで出現する。クラシカルな演技だが現代だから生まれた演技。出る前、出たあとの表情が素晴らしい。
・Tsai Jin-Cheng 三国志?アクト。台湾の民族衣装で演技をしており”あー台湾にきたんだなぁ”と感じていた。その国で生まれ育たなければできないアクトを見れるのは楽しい。前半は掛け軸パート、後半は武器が出てくるパート。武器がでてきて舞う。槍がでてきてエンドポーズは本当に盛り上がった。ちなみに飲み会での人柄もよかった。
・Yang Jie-Wei めぽ一押しのイケメン。蝶がもっと本物ぽかったらよかったと感じた。
・Kim Cheol Gyu 腕時計の演技。姿勢が良く立ち姿が美しい。
・Hsu Shao-Yuan 2015にも出ていた気がする。
・まわりみち ぱわぁさんの傘の刺し方がともさんを殺しにいっている。刺すパートがめちゃくちゃ面白い。抜くパートがグダるイリュージョンが多い中素晴らしいアイデアで中から抜けていく。めちゃくちゃ面白い。最後の脱出後の風船の演出も不思議で素敵。途中花が生えたゴローニャみたいになったり、随所にこの演技でしか見ない演出・構図が見えた。素晴らしかった。
・Shanboy マスク
・Kelvin Cheung ランスバートンのライトの修理人の演技。最初の鳩が鳩にしかみえない。最前列で見ていたが、全ての道具が細かいところまで作り込まれていた。完成度が非常に高い。演技全体めちゃくちゃ面白かったが、最初の鳩の現象が一番面白い。
・Jenny The魔法使いの格好をして、ねるねるしてる。ねるねる釜から若返りの薬が飲むと若返る。途中謎のシンブルパートとたまパートがある。魔法使いとマジシャンが混在している為違和感。魔法使いに統一してほしかった。(魔法使いはトランプやシンブルや玉などを出さない。もっというとトランプや道具の扱いが下手なはず。魔法使いなら。)
・佐々木たかもろ うちのサークルの10年に一人の逸材。演技が終わる頃、あーこいつも社会人になるのかぁと思った。受賞して欲しかったが敵は強い。国際大会に出てくれただけでありがとう。
・MalaJohn いつものアクト。曲チェン前は今回のバージョンが好きだが、変わったあとは以前の方がすき。曲のトラ���ルがあったのかな?それにあのスピードに気付けるのがすごい。
・Park Hyo-sung パズルの演技。前半のLミノをはめるまでは素敵だったが、後半はまだパズルとリンクしきれていない気がする。
・鈴木大河 アイシャドーにピンク、ガニ股のアピール。一つ間違えたらめちゃくちゃダサくなるのに全てがかっこいい。曲、演出、道具、効果、全ていつも通り素晴らしい。しかし、観客が演技を知っている為か高い演技クオリティにもかかわらず反応がいまいち。
・Chou De-yen バスケ、食事していたら見逃した。私服はMJのシャツにスパーズの帽子だったので、おかしくね?っと思って聞いたらチームはスパーズのファンらしい。一番好きな選手はAI。なんとAIが高校にきたことがあるらしい。どんな学校なんだそれは。日本じゃありえない。さすがLALのスターを排出している台湾だ。めちゃくちゃいいやつだった。
・せがみ 前からTim Linに似ていると思っていたがやっと周りも認めた。
・てつや 観客の反応がやばい。バケツのところや昔からやっているカラチェンが報われた。毎日道具を作っていて、お前は何のために作っていて、何を目指しているのか?といつも聞いていた。全て報われた瞬間を見させてもらった。大学1年の学祭の演技を見た時、こいつはやばい。すげぇのがきたと思ったが、やっと本当にやばいやつになった。秋連の演技もそこまで好きではなく大学1年の演技が一番好きだった。スケッチブックのパートも好きじゃなかった。今回の演技ではスケッチブック、バケツ、カラチェンと全てが調和していた。めちゃくちゃ凄かった。 演技のクオリティ以上にやっぱり観客の反応に驚く。ちょっとうるっときた。
Zhong Ming-Ruei ・てつや余韻のため忘却
Jeon Yong-Seok ・天使っぽい演技。本当はカラスだったらしい。コンテスト後半の韓国人ということで非常に期待したが、その見た目とマテの期待感には答えられなかった。
前嶋くん ・和傘プロダクション。海外コンテストだから和っぽい演技は受けるのではないかと思ったがみんな目が肥えているな。
「インビテーションコンテスト」
JerryWoo ・リングがありえない繋がり方をする。最前列でみてもどのような機構かわからない。肌がもちもちしていてかわいい。
ハンナ ・途中から降ってくる紙が照明とあわさってCGの中にいるように錯覚。肉眼でARの時代がきた。
伊能さん ・ウォンドパートでの歓声や拍手は優しい人の数。そしてその数は台湾は多かった。
村田さん ・めちゃくちゃ進化していた。凄かった。観客がずっと息を呑んでみていた。変なアピールの部分もないので拍手もなく、ため息がもれるかんじ。終わった後のチェイサーではやっと拍手ができるかんじで観客が全力で讃えていた。先輩にこんなすごいひとがいるなんて誇りだ。
Rex ・ミスティックで見た時よりもめちゃめちゃパワーアップしていた。グランプリもなっとくの演技。素晴らしい。
Andy Choi ・スプレーの演技。格好がまず良い。表情も憎めない。手錠が本当に不思議。韓国強い。
「クロースアップコンテスト」
I'm Deaws ・シンリムっぽい表情をずっとしていた。お腹痛かったのかな?
AL Chen ・なんか後半よかったきがする。
Hsiung Lei ・忘却
Jonioさん ・椅子しかないのがかっこいい。クロースアップとはこういうものだなって感じ。出方も気持ち悪いほどすごい。めちゃくちゃ面白い。優勝はJonioさんかダイススタッキングだと思ってた。
Joad Hsu ・ダイススタッキング。めちゃくちゃ面白い。お客さんとの会話できている感じが素敵。最後のミスのリカバリーが好き。好き。
藤田大和 ・鏡をつかった演技。
ライチさん ・ダイスを転がしてもらい、出た目でカードを当てる。最後は全てのダイスが一つの動作で揃う。野島さんっぽい感じ??その見た目から今まで話しかけにくかったが、マジックを見せてもらったり素敵な人だった。
Vincent Chang ・なんかよかったような気がする。
Akio ・ルービックキューブ
Choi Sieon ・緑のスポンジをひきちぎるところが好きだった。スクリーン上ではアイパッド上の白い玉が、肉眼でみると色があった。ずっとスクリーンで見ていたので気づかなかった。
「クロースアップガラ」
ボリスワイルド ・キスは好きじゃなかったがバタフライはよかった。
ホレットウー ・中国語がわからないから楽しめなかった。
ハリーG ・中国語がわからないから楽しめなかった。
エリックチェン ・中国語がわからないから楽しめなかった。
さわさん ・まず出てきてびっくりした。レジェンド。レジェンドって昔の栄光でいわれているんでしょ?って思ってました。大変申し訳ございませんでした。 あんな不思議すぎるロープ初めて見ました。日本にもあんな恐ろしいマジシャンがいたとは。ロープやべぇ。すげぇ。握手していただきました。手がプニプニでした。神だわ。
碓氷さん ・ルービックキューブマジックの創始者であり終わらせた人。この人より不思議な人は俺はしらない。ただFISM本戦にすごい人がいたらしいのでそれをみたくなった。とにかく最後の3つのルービックキューブ揃うのやばい。それがレギュラーだという奇跡。
「レクチャー」
サンタさん ・発想がすごい。簡単なギミックを演出で素晴らしいアクトに昇華させている。めちゃくちゃおもしろい。ポーカーデモンストレーションはもうこれ以上面白いのは生まれないと思う。今まで参加した全てのレクチャーの中で上位に入るレクチャーだった。本当に参加してよかった。マヨーラルじゃなくてこっちでよかったと思っている。(マヨーラル参加したら逆のこと言っているかもしれないが。。。。)
「ワンマンショー」
ルイスオルメド ・去年レクチャーで教えてもらった技で驚く恥ずかしさ。マトリックスを泉にたとえながら演技するのはどうやったら発想できるのか・・・飲み会で本人にきいたらI dont knowとのこと。ウッディー並みのショーを期待していたが、そこまでではなかった。人柄、演技ともにすごくよかったのは間違いない。
「クロージングガラ」
池田さん ・恐ろしい司会。本当に恐ろしい。脳みそを完全に溶かしにきている。毎回演技をしてから演者を紹介するのだが、その演技が毎回スタンディングオベーションするレベルなので本当に休めない。もうこれ以上すごい演技をしないでくれって謎の心境になる。神アクト製造機。天才1000人集めてもこの人が一番の天才。
マンホーハン ・最後のグッチのバッグがでる現象が素敵。
ホアンツェン ・衣装チェンが今まで見たきた中で一番美しかった。またシルクがなびいている様子も美しい。ガラにふさわしい素晴らしい演技だった。そしてマヨーラルの奥さんだったというのも衝撃だ。
クリストレンテ ・今まで見た人の中で一番燕尾服が似合っていた。見えない犬と戦う演技。すげー面白かった。
パトリックレーネン ・ピクサーの電気スタンドみたいなやつとずっと演技している。ペンがマジックウォンド設定でペンに当たったものに魔法がかかる。電気スタンドが動くのもそのため。本来CGがなければできない表現を肉眼で見るとこれほど感動が生まれるのかと思う。映画の世界をノースクリーン・肉眼で見れた。
エリックチェン ・さすがグランプリ。これもCGクラスの現象を肉眼で見れることに驚き。ときどき既存の技の香りがする部分を見つけると”あぁ魔法じゃなくてマジックなんだな”と安心を覚える。小池で普通に飲めたのが今では誇り。
リードチャン ・何回目かわからないけど、何回見ても素晴らしい。じつは本の開き方が一番好き。
ジャグラーズビジョン ・深川さん、天平さん、桔梗ブラザーズと各々がスタンディングオベーションを作れる演技を持っている。その人たちが合わさったらどうなっちゃうんだろって期待でいっぱいだった。LEDで長い演技をずっとみれるのはすごい。普通暗いところ光る道具ってすぐ飽きちゃうのに。
ノベールフェレ ・TMA最後の演者。TMAが終わっちゃうから始まらないでくれって思ってた。でも早く見たい気持ちもあった。コメディー部分と演技部分が別れている。玉の演技では初めてFISMってYoutubeを検索した時のことを思い出したりしてた。映像そのままの技術は生で見ると本当に感動した。演技の素晴らしさよりも生で見れたことの感動が強かったと思う。また飲み会でお話させていただいて素敵な人柄で感動した。フランス語がうまいと褒められたのでこれから推していきたい。
感想
素晴らしいコンベンションに参加すると、あぁマジックを好きでよかったと本当に思う。こんなに面白い芸能はほかにないと思うし、それをやっている人口もちょうどいい。世界一の演者と一緒に飲める距離感。その感動を共有できる友人たち。最高だ。
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venomous-five · 3 years
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Shaolin Rescuers (1979)
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mgewiss-blog · 7 years
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"Without Discipline There is Doom" 8/8/17 #drawing and #digitalart by Mark Gewiss
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