關於 paris opera house ，我們在網路上蒐集到這些相關的討論、資訊與評價

時光飛逝，
學期走到尾聲了！

俐媽這次錄了龍騰B1R3 An Island’s Beauty, an Islander’s Duty，
內容提到齊柏林導演利用空拍機，
記錄台灣的美景，
但也揭露出台灣各地被人為破壞的痕跡。
(感謝齊導演對台灣的付出，他不幸逝世的消息請見 #俐媽新聞英文齊柏林導演 。真的無限感恩致敬🙏🏼)

網版課程中俐媽秀了家中掛的台灣地圖，
介紹一些台灣景點。
今天，
來介紹國外景點吧！
————————————————————
🗿 俐媽英文教室—國外景點篇：
🗽 Statue of Liberty 自由女神
🗽 Golden Gate Bridge 金門大橋
🗽 the White House 白宮
🗽 Times Square 時代廣場
🗽 the Grand Canyon 大峽谷
🗽 London Tower Bridge 倫敦塔橋
🗽 Westminister Abbey 西敏寺
🗽 Big Ben 大笨鐘
🗽 Buckingham Palace 白金漢宮
🗽 British Museum 大英博物館
🗽 Stonehenge 巨石陣群
🗽 Eiffel Tower 艾菲爾鐵塔
🗽 Louvre 羅浮宮
🗽 Norte Dame de Paris 聖母院
🗽 Arch of Triumph 凱旋門
🗽 Cologne Cathedral 科隆大教堂
🗽 the Great Wall 萬里長城
🗽 the Forbidden City 紫禁城
🗽 Terracotta Army/warriors 兵馬俑
🗽 Kinkaku Temple 金閣寺
🗽 Kiyomizu Temple 清水寺
🗽 Mt. Fuji 富士山
🗽 Ankor Wat 吳哥窟
🗽 Taj Mahal 泰姬瑪哈陵
🗽 Leaning Tower of Pisa 比薩斜塔
🗽 Parthenon 巴台農神廟
🗽 Colosseum 羅馬競技場
🗽 Venice 威尼斯
🗽 Sydney Opera House 雪梨歌劇院
🗽 Great Barrier Reef 大堡礁
🗽 Grand Kremlin Palace 克里姆林宮
🗽 Red Square 紅場
🗽 Petronas Twin Tower 雙子星塔
🗽 Mosque of St. Sophia 聖索菲亞教堂(in Turkey)
🗽 the Pyramids 金字塔
🗽 Easter Island 復活節島
🗽 Niagara Falls 尼加拉大瀑布
🗽 Machu Picchu 馬丘比丘
🗽 Maldives 馬爾地夫
🗽 Bali 峇里島
🗽 Panama Canal 巴拿馬運河
🗽 Himalayas 喜馬拉雅山
🗽 Sahara Desert 撒哈拉沙漠
🗽 Cape of Good Hope 好望角
—————————————————————-
景點真的好多，
俐媽列也列不完，
只列出各版本有介紹、或對我比較有回憶的地方，
請大家多多補充🙏🏼

在不能出國的時節裡，
看看這些景點、學習它們的英文，
總有一天派上用場！
.
#俐媽英文教室
#俐媽英文教室外國景點篇
#俐媽英文教室旅遊篇
#俐媽英文教室網版篇
#台大明明陪你大開眼界

這位年輕同行幾乎把全世界知名表演的網路直播／錄影演出，統統匯整於此。如果這不是寶藏，我不知道什麼還算是了。臺灣有雲門舞集被圈選！當代表演藝術全收錄，教學進修一體適用！！以及，芝加哥古德曼劇院超強分享全劇共有五集的超強前衛小說改編劇目：2666。

1.Tanztheater Wuppertal/Pina Bausch (Wuppertal, Germany)
2.Internationaal Theater Amsterdam [FKA Toneelgroep Amsterdam] (Amsterdam, Netherlands)
All productions are directed by titan Ivo Van Hove.

3.The Public Theater’s Free Shakespeare in the Park Production (New York City, New York)
4.Schaubühne am Lehniner Platz (Berlin, Germany)
5.Ballet Hispánico (New York City, New York)
6.Alvin Ailey Dance Theatre (New York City, New York)
7.Goodman Theatre (Chicago, IL)
8.B-Side Studio — Episodes 1–8
9.Bangarra Dance Theatre/Sydney Opera House (Sydney, Australia)
10.Opéra national du Rhin | (Strasbourg, France via Buenos Aires, Argentina)
11. Astor Piazzolla’s Maria de Buenos Aires
12. National Theatre Home (London, England)
13.Hampstead Theatre (London, England)
14. Cloud Gate Dance Theatre (Taiwan, Asia)
15. Théâtre du Soleil | Ariane Mnouchkine (Paris, France)
16. Young Jean Lee’s Theater Company
17. MANUAL CINEMA (Chicago, IL)
18. Nederlands Dans Theater (The Hague, Netherlands)
19. PEEPING TOM (Brussels, Belgium)
20. Nowy Teatr (Warszawa, Poland)
21.TR Warszawa (Warszawa, Poland)
22. Odéon-Théâtre de l’Europe (Paris, France)
23. CHEEK BY JOWL (International theatre company)
24. David Bobée (Mont-Saint-Aignan, France)
25. Theater Basel (Basel, Switzerland)
26. Dimitris Papaioannou (Athens, Greece)
27. THE ROYAL COURT THEATRE (London, England)
28. Batsheva Dance Company/Ohad Naharin (Tel Aviv, Israel)
29. AKRAM KHAN COMPANY (London, United Kingdom)
30. Hofesh Shechter Company (Jerusalem, Israel)
31. Anne Teresa de Keersmaeker (Brussels, Belgium)
32. EASTMAN | Sidi Larbi Cherkaoui (Antwerp,Belgium)
33. STUDIO WAYNE McGREGOR (London, England)
34. Fuerza Bruta ( Buenos Aires, Argentina)
35. Teatr Laboratorium (Wrocław, Poland)
36. Tadeusz Kantor (Kraków, Poland)
37. Piccolo Teatro di Milano| Giorgio Strehler (Milan, Italy)
38. Peter Brook (London, UK // Paris, France)
39. PANDUR.THEATERS (International Theatre)
40. Robert Wilson (International Theatre)
41. La Compagnie du Hanneton (International Touring Company)
42. Festival d’Avignon (Avignon, France)
Mademoiselle Julie
French language with no subtitles
43. Deutsches Theater Berlin | Michael Thalheimer (Berlin, Germany)
44. Sasha Waltz & Guests (Berlin, Germany)
45. Maly Drama Theatre (St Petersburg, Russia)
46. Patrice Chéreau (Lézigné, Maine-et-Loire, France)
47. The Ring Cycle: Das Rheingold (Bayreuth Festival)
The Ring Cycle: Die Walküre — Part 1/2 & 3 (Bayreuth Festival)
The Ring Cycle: Siegfried — Part 1/2 & 3 (Bayreuth Festival)
The Ring Cycle: Götterdämmerung — Part 1 & 2/3 (Bayreuth Festival)
48. ONASSIS FOUNDATION (USA & Greece)
Greek language with Greek Subtitles
49. DIGITAL THEATRE 英國付費收看線上串流的數位劇院
Much Ado About Nothing

Travis Coe來自Double Edge劇團，這個劇團規模不大但是是美國知名的以環境場域為創作主題的實驗性表演團隊。

作者Travis Coe is an Ensemble Member, Actor, and Video Director with Double Edge Theatre, where he recently premiered his solo performance SUGA.
He is a Co-Founder of Round Room Image and received his BA in Acting at Columbia College Chicago.
I would love to know about the productions you are watching and if you have any suggestions on free performances I should add. You can email me at: travisdcoe@gmail.com

Join the crew https://www.facebook.com/groups/2366734596727746/?ref=share

The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris

Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.

According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.

According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.

When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.

Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.

Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.

‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.

This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article

Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.

During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”

Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.

In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.

In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.

"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."

The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.

At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.

The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.

Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.

The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened

From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.

大家好～我是Victoria，

今年的聖誕節你/妳怎麼過呢？

到派對狂歡還是參加溫馨的家庭聚會呢？

今天我想要跟你們分享一款很適合聖誕節的妝容，

希望你們會喜歡！❤️

祝大家聖誕節快樂?

（視頻裡的M.A.C唇膏資訊打錯了，正確的資訊在下方喔～??）
----------------------- More Victoria ----------------------

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動画をご覧頂きありがとうございます！
今回は、3分メイクにチャレンジしてみました♥
ずっと怖くて勇気が出ませんでしたが、
前から挑戦してみたかったので
動画が作れてよかったです（笑）
クオリティーに関しては、
お手柔らかにお願いします(´._.｀)
楽しんで見て頂けたら嬉しいです♪

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† 今日の一言 †

いつもと違う感じで編集して見たけど、
テロップめっちゃ大変でした（笑）

↓再生リスト↓

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よければフォローして下さい♥︎

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