ANTONINARTAUD怎么样
一、ANTONINARTAUD怎么样
一直以为给别人写传记很容易先入为主地给他们加上一些帽子，容易提出离谱的假设等等。但这本书的作者是非常用心的，每一句话都可以看出他有大量一手、二手资料。语言非常简洁、直观，逻辑严谨。 一个段落中的每一句话都是属于整体的，少了一句段落就缺少完整性，以至于我这个“剪刀手摘引家”都难以下手>< 同时 读这本书 真的能更全面地了解阿尔托； 不仅作为一个艺术家，也作为一个imperfect human。 QUOTES The Umbilicus of Limbo appeared in July 1925, three months after Artaud’s issue of La Revolution surrealiste. Its original title had been Opium Hanging, or The Shittiness of the Social Mind. （这些名字这么有趣。可惜没有读过书，不好意思翻译） (opium) Mythic figures would approach him in his room, become human and ‘slowly assassinate me, with patience and application’. Artaud was well aware that the Theater of Cruelty had to be launched as a business venture as well as a revolutionary dream about theatrical and physical transformation. For Artaud, death was always an invented state, imposed by society so that the inert body would become vulnerable raw material for malicious robberies and attacks as it enters a state of limbo, such as he claimed to have experienced during an electroshock coma at Rodez. With a strong enough will to live, and sufficient resistance to social compromise, an independent human body could live forever. Many people were disturbed by the extent to which Artaud had developed ideas that were antithetical and inadmissible to European culture. Embedded in his manifesto was a threat to language. If language was to be dissolved from words with definite meaning, into a substance of multiple gestures and cries that had a more direct, more visceral capacity for expression, then that threw into question all the weight that social, political and religious forms of expression carried. Artaud’s concepts had implications which extended far beyond the arena of the theatre. Anais Nin wrote, “To be kissed by Artaud was to be drawn towards death, towards insanity.” “You are the poet, you walk inside my dreams, I love the pain and the flame in you, but do not touch me.” Artaud 自己的 “(It is useless ) to exhibit objects which will not wail, reek, stink, fart, spit, will not show wounds, will not receive them” a theatre of blood, a theatre where at each performance something will be won physically… in reality, the theatre is the birth of creation That will happen. They always want to hear about; they want an objective conference on ‘The Theatre and the Plague’, and I want to give them the experience itself, the plague itself, so they will be terrified, and awaken. I want to awaken them. They do not realize they are dead. Their death is total, like deafness, blindness. This is agony I portrayed. Mine, yes, and everyone who is alive. (on Heliogabalus) I do not judge what happened as History might judge it; this anarchy, this debauchery pleases me. There is, in all poetry, an essential contradiction. Poetry is the grinding of a multiplicity which throws out flames. And poetry, which brings back order, first of all resuscitates disorder, disorder with inflamed appearances; it makes appearances collide and brings them back to a unique point: fire, gesture, blood, scream. a blow anti-logical anti-philosophical, anti-intellectual, anti-dialectical of language pressed down my black pencil and that’s all. The theatre is the condition, the place, the point, where the human anatomy can be seized and used to heal and direct life. I believe that I’ve found the right title for my book. It will be: THE THEATRE AND ITS DOUBLE since if theatre doubles life, life doubles theatre… This title responds to all the doubles of theatre which I believe I’ve found over so many years: metaphysics, plague, cruelty. Exclamations, interjections, screams, interruptions, interrogations on the putting into question of the Last Judgement. We are not yet born, we are not yet in the world, there is not yet a world, things have not yet been mad, the reason for being has not yet been found. to live, you have to be somebody to be somebody you have to have a BONE and not be afraid of showing he bone and losing the meat in the process. ‘infinity’ the opening of our consciousness towards possibility beyond measure. (my work) is not the symbol of an absent void, of an appalling incapacity of people to realize themselves in life. It is the affirmation of a terrible and moreover inescapable necessity. (to Cecile.) I love you because you have revealed human happiness to me.
二、之佳便利店提成怎么算
之佳便利店提成算法是。工资=基本工资+岗位津贴+效益提成+工龄工资+年终奖+福利等几项组成。
三、之佳便利店的东西是正品吗
是。之佳便利店的东西是是经过品牌商检查，市场监管局检查的合格商品，是正品。该店铺售卖的商品种类多，价格便宜。
四、之佳便利店怎么样？
还不错。
?云南之佳便利有限公司成立于2005年1月，是由健之佳健康连锁店股份有限公司投资开办的零售连锁企业。
之佳便利在借助健之佳连锁药房成熟应用零售连锁的技术基础上，学习并引进国际先进的便利店管理技术，坚持“六统一”的连锁经营管理，倡导“品质、时尚、快捷”的经营特色，从开设第一家门店至今历经8年多的快速发展，目前已成功开设直营连锁门店300余家。门店基本覆盖昆明各大社区及城市主干道，同时在红河州、玉溪、楚雄、大理、临沧、曲靖、昭通、文山、建水、澄江、呈贡、安宁、嵩明等地相继开设了分店，为行业的带动、地区经济的发展起到了积极促进的作用。
为了方便社区居民生活、之佳便利大多门店真正做到了全天24小时营业。同时开展了一系列关怀顾客的服务，为顾客提供热水、微波加热、售卖热饮咖啡、售卖报刊杂志的服务，还设置了银联ATM机、拉卡拉、手机充值站、票盟等，以方便顾客需求。在经营品种方面，之佳便利支持以“高品质、高质量”作为商品经营的基础，经营品种5000多个，经营类别45个。之佳便利人性化、周到的服务赢得了社区居民的认可，成为云南省规模较大的便利连锁企业。
