倫敦天氣:預報與後報及其他

朱自清日記 :311206 翻譯文 所以用紅字說明朱先生在"公園"一文使用的字眼

六曰星期日晴今天是倫敦冬季罕見的一個晴天。約了周和馮兩位先生出去走走,我們信步穿過雷根特 (攝政)公園。這是一次有趣的散步。被里昂的收款員弄得很尷尬,我給她一個英鎊買入場券,她說她沒有零的銀幣可 .. ...

孫逸先在倫敦的作者 提出"天氣預報與後報"的問題

倫敦報紙在第二次世界大戰前還有惡劣的習慣將天氣放在頭條新文 (GEORGE ORWELL 戰時日記)

Maskelyne's Theatre 多名稱

倫敦看表演是朱自清的重要活動
不過現在倫敦的劇場已近千
這表示過去80年來的變化相當大---即使許多只是改頭換面而已

且看他的日記
第 51 頁
赴馬斯基林劇場( 原亂碼^ ^丄^ : ^ ^丁 11631) 觀雜耍,即變戲法,無甚意味,且有侮辱中國人處,
餘頗為不安也。 ... 至馬斯基林時,由一工人引路。求助,給五便士。以後問路宜注意。


現在幸虧網路上有這樣好的資訊

http://www.arthurlloyd.co.uk/StGeorgesHallLanghamPlaceLondon.htm

St. Georges Hall, Langham Place, Regent Street, London Also known as St. George's Theatre / St. George's Opera House / Matinee Theatre / Maskelyne's Theatre of Mystery Above The interior of the St. George's Hall, Langham Place - From the Illustrated London News 1867.

The St. George's Hall in Langham Place originally opened as a concert hall for the New Philharmonic Society on April the 24th 1867. Right from the start the Hall could also be used as a Theatre and in such a form it was known as St. George's Theatre. The first performance at the St. George's Theatre was 'A Woman's Whim' by Walter Stephens on the 3rd of December 1867. Right - Programme for 'Maskelyne and Devant's Mysteries' at the St. George's Hall in August 1910 - Click to see the entire Programme. - For more information on Maskelyne see furthur down on this page. In it's 23rd of April 1867 edition, the ERA wrote on the opening of St. George's Hall (Reprinted in Mander & Mitchenson's 'Lost Theatres of London') saying: 'On Wednesday night the new Hall, built for the New Philharmonic Society, was formally opened with a Conversazione. Dr. Wylde, the President, will conduct the first concert in the room on Wednesday next. The Council had issued a large number of invitations, and the Hall, with its galleries, will accommodate from twelve to fifteen hundred persons. The salon to be henceforth occupied by the Society is 110 feet in length, 50 in breadth, and 45 in height. The elliptical roof is of wood, the lighting is managed by sunlights, and proper ventilation is secured by double windows and a perforated frieze in communication with the lanterns in the roof. The balcony runs round three sides of the room, and is very shallow, space for two rows of seats only being allowed. Facilities for exit are provided, and occupants of seats on the ground floor will find no steps to ascend or descend. Colour is extensively made use of in the decorations, and the architect is Mr. John Taylor, of Whitehall. A combined entertainment was submitted to the visitors, the proceedings commencing with a poetical address, written by Mr. H. T. Braithwaite. This was read by Mrs. Stirling, and formed the prelude to a concert, in which Mdlle. Poellnitz, Miss Abbott (London Academy of Music), Miss Madeline Schiller, Miss Rose Hersee, Herr Ganz, Herr Reichardt, the Brothers Thern, and Messrs. T. H. Wright, Chipp, Paque, and Ould, appeared Works of art, comprising water-colour drawings, portraits, &c., were open for the inspection of visitors. St. George's Hall has three separate entrances, from Langham Place, Regent Street; Mortimer Street, and Great Portland Street.' The ERA, 23rd April 1867.

The Hall had a change of name in December 1867 to St. George's Opera House when Thomas German Read took over the management of the Theatre. He opened it with a production of 'The Contrabandista' by F. C. Burnand and Arthur Sullivan. The Hall's name was changed back to St. George's Hall again in March of the following year. Thomas retired in 1871 and his son, Alfred, took over with his mother. (Thomas Reed died in 1877.) Thomas Reed was previously a conductor for the Haymarket Theatre Orchestra, and his wife an actress and singer at the Covent Garden Theatre. Mrs. Reed retired in 1879. Left - Programme cover for 'Cherry Tree Farm' and 'All at Sea' from 'Mr. and Mrs. German Reed's Entertainment' at the St. George's Hall in October 1881. As a Theatre the building really came into its own when 'Mr. and Mrs. German Reed's Entertainment,' as it was known, began regular seasons, beginning on the 20th of April 1874 and staying successful and very popular until March of 1895.

The ERA reviewed the opening night of this new entertainment in its 26th of April 1874 edition (Reprinted in Mander & Mitchenson's 'Lost Theatres of London') saying: 'Mrs. German Reed and her small but talented company have now taken possession of St. George's Hall, where during the season they propose to reintroduce to those in search of merriment a series of those charming little sketches with which they have already delighted thousands at the Gallery of Illustration. Two special favourites have seceded-Mr. Arthur Cecil going to the Globe and Miss Fanny Holland to the Criterion; but their places have been judiciously filled, and still everything goes 'merry as a marriage bell.' Mr. W. S. Gilbert's romantic legend Ages Ago, enlivened by Mr. F. Clay's lively and tasteful music, has been revived, and the applause with which it was greeted on the opening night fully testified to the fact that its popularity is far from being exhausted. Right - Programme detail for 'Cherry Tree Farm' and 'All at Sea' from 'Mr. and Mrs. German Reed's Entertainment' at the St. George's Hall in October 1881. Mrs. Reed is equally amusing as Mistress Maggie McMotherly, the superstitious old Scotchwoman, and as Dame Cherry Maybud, the vivified portrait painted by Sir Godfrey Kneller; and we need hardly say that to her artistic skill both as vocalist and actress much of the success attending the performance is still due. Miss Leonora Braham, who succeeds Miss Fanny Holland, is a charming singer and a pleasing actress, and she met with much favour as Rose and the vivified Lady Maud de Bohun, her rendering of 'So please you, sir, 'tis I' narrowly escaping an encore. Mr. Alfred Reed displayed considerable versatility as Sir Ebenezer Tare, the pompous alderman and tallow-chandler, and as Lord Carnaby Poppytop, Maud's great-great-great-great grandson. Mr. Stanley Betjeman's excellent voice was heard to advantage in the roles of Mr. Columbus Hebblethwaite and Sir Aubrey de Beaupre; and Mr. Corney Grain as usual proved thoroughly efficient as Angus MacTavish.. The last-named gentleman furnished the only novelty of the evening. This was a musical sketch entitled A Day in Town in fifteen Minutes. He introduced us to 'Ma,'' up from the country with the girls; described to us in amusing fashion how they shopped; how they walked in the 'Row;' how they visited the Royal Academy, the Soho Bazaar, and the Panorama; and then took us with them to Signor Scracci's annual concert, and showed us how easy it is to turn a comic song into a classical air; imitated the Italian gentleman whose object it is to get through the music allotted to him at railway speed; the French singer, whose mission it is to cry himself, and to make his hearers cry with him; the ballad vocalist, whose conundrums are always answered by the man with the trombone; the Spanish singer; and his sisters Georgie and Porgie in their duet. He introduced us to sundry specimens of the genus swell at Lord's, and illustrated the music and the 'fiery steeds,' at the Circus. Whether talking, singing, or playing Mr. Corney Grain was always in his element, and the fifteen minutes which were comprised in his Day in Town afforded fifteen minutes of irresistible mirth, followed by a double call to the footlights for himself. This sketch is certainly one of his happiest efforts, and is sure of protracted popularity. The concluding item was Charity Begins at Home, and once more, in the persons of Mrs. Reed, Miss Braham, and Mr. Corney Grain, Mr. Alfred Reed, and Mr. W. A. Law, did we make the acquaintance respectively of Mrs. Bumpus, the fisherwoman of the old school; of Rebecca Giles, with her awkward questions; of Susan Bumpus, with her pretty song of the pump, and Betsy Clark, taking a prominent share in the arithmetical duct; of Mr. Gorringe, the wandering photographer, anxious to take the village pump and 'make a carte of it'; of the parish beadle, horrified at the thought; and of the charity boy, 'dressed up such a guy'. The whole entertainment has lost none of its freshness, and the large and fashionable audience present sufficiently indicated that in their new home the clever little company will find a renewal of the patronage they so well deserve, and which hitherto they have never failed to command.' The ERA 26th of April 1874.

Corney Grain, who was a piano entertainer, became a partner to Alfred Reed in 1877 and they leased the Hall for many years, letting the building to amateurs when they were not performing themselves. However, Alfred Reed died on the 10th of March 1895, and Corney Grain died on the 16th, and Mrs. German Reed died on the 18th and that was the end of 'Mr. & Mrs. German Reed's Entertainment.' Left - Programme cover for 'An Odd Pair,' 'Piano on Tour,' and 'Box B' from 'Mr. and Mrs. German Reed's Entertainment' at the St. George's Hall. Shortly after this the building had a change of name again to the Matinee Theatre, on April the 17th 1897, presenting 'High Class' Vaudeville but it was not very successful. A series of German plays were introduced for a while but in 1904 the Hall closed down.

In 1905 John Nevil Maskelyne, who had previously run the Egyptian Hall until it was pulled down in 1904, took over and reopened the St. George's Hall after making improvements and adding the house next door to the building. The name was changed again, this time to Maskelyne's Theatre of Mystery, opening on January the 2nd 1905 with 'The Coming Race' by David Christie Murray and Nevil Maskelyne. The ERA reported on the opening of the new building in their 7th of January1905 edition (Reprinted in Mander & Mitchenson's 'Lost Theatres of London') saying: 'The hall has been wonderfully improved, and now presents more the appearance of an immense drawing-room than of a theatre. The stage has been brought forward, and its capacity thereby much increased. There are no wings, their place being taken by an inner and outer proscenium. The curtain of the inner is a clever painting of the exterior of the Egyptian Hall in Piccadilly, and what may be called the act-drop represents a pretty classic landscape. As the Messrs. Maskelyne contemplate producing a series of important magical pieces, the machinery and lighting of the stage have become naturally matters of the first importance. Right - Programme detail for 'An Odd Pair,' 'Piano on Tour,' and 'Box B' from 'Mr. and Mrs. German Reed's Entertainment' at the St. George's Hall. Framing the outer proscenium are no less than 300 electric bulbs. This arrangement entirely disposes of unnecessary shadows, which are so difficult to get rid of. When the actor walks to the footlights he is surrounded by a ring of unseen lamps of which there are no less than two thousand on the stage, and the power can be lowered to the merest glimmer, or by insensible gradation increased to a potential glare. Thus all sorts of effects, from the feeble light of the breaking dawn to the blaze of noonday sunshine can be readily simulated. These results are obtained by the employment of Wirt dimmers, of which twenty-seven are required for the eight hundred lamps affixed to the battens, besides the movable lamps which will be used at special points. In their new scheme of amusement the Maskelyne management come into line with the theatres, and in their production challenge criticism in serious drama with magical effects. For this purpose Lord Lytton's novel, The Coming Race has been fashioned into a play by Mr. David Christie Murray and Mr. Nevil Maskelyne.

Before the curtain rose on the drama, Mr. J. B. Hansard came through the inner proscenium, and in the dress of an ancient Crier, addressed the audience as follows:-'Oyez, Oyez, Oyez! It having been decreed that the ancient, and at one time refined thoroughfare, known as Piccadilly, shall henceforth be devoted to the consumption of grub-where you may upset your little Marys from the modest sum of one and six - science and art are constrained to seek a pure atmosphere. We have therefore turned our backs upon the old and dingy Egyptian Hall - we have left Isis and Osiris to the flesh pots, and have turned to St. George, purity, and truth. Be it known, therefore, that this hall, dedicated to our patron saint, shall henceforth receive the sub-title, 'England's New Home of Mystery.' Left - Programme cover for the St. George's Hall, England's Home of Mystery, under the direction of Maskelynes Ltd in March 1917. The lessee and his sons will continue to emulate St. George by giving death-thrusts to the dragon of superstition and imposture, in whatever guise he may appear, and by providing high-class, interesting, and wholesome amusement at reasonable prices they hope for a continuance of that patronage so liberally bestowed upon them for thirty-one years at the old home of mystery. Oyez, Oyez, Oyez! As loyal and dutiful subjects of his Majesty King Edward the Seventh, it is meet we inaugurate these proceedings by singing the National Anthem. Miss Iris Lincoln and Mr. Leslie Burgess will therefore appear upon the auxiliary stage and sing, 'God save the King.' Let us all join in the refrain with heart and voice, for our Teddy's a good one, and don't you forget it!' Miss Lincoln and Mr. Leslie Burgess then sang the soli, and the audience assisted with impressive cordiality. The small orchestra is under the direction of Mr. Cramer, and the accomplished 'cellist, Mr. Ivimey, and the clever violinist, Mr. Denti, played some capital solos during the entr'actes.' The ERA 7th of January1905.

Above - Programme detail for the St. George's Hall, England's Home of Mystery, under the direction of the Maskelynes Ltd in March 1917. Various other changes of name on a variation of Maskelyne's Theatre followed and this new home of Magic became well known all over the world and very successful until in 1933 the BBC took over the building as a studio and concert hall. The building was destroyed by enemy action on the 10th of May 1941 and the St. George's Hotel and Henry Wood House were later to be built on the site in 1963.

Furthur Reading A Candid View of Maskelyne's 1916-17 by Anne Davenport and John Salisse is packed full of valuable information and wonderful photos and plans of this once famous venue. The book is based on Rupert Woodhouse Pitman and his sister Mabel's reports of Maskelyne's shows at the St. George's Hall, Maskelyn ran the Egyptian Hall and then the St. George's Hall for a total of 44 years. The book forms a kind of diary of events held at the Theatre and has details of many of the illusions performed there, and also later on in other venues around London. A fascinating read. Copies of the book priced at a very reasonable £15 (including postage and packing) can be obtained from the publisher by sending a cheque, payable to John Davenport, to: John Davenport, 30, Rock Road, Cambridge CB1 7UF. St. George's Hall: Behind the Scenes at England's Home of Mystery by Anne Davenport and John Salisse, who invite you to join them backstage to peek into the Maskelyne workshop where so many classic illusions first saw the light of day, to eavesdrop on board meetings where egos and personalities often clashed, and to watch from the wings as the world's top conjurors entertain generations of London theatre goers. The story of St. George's Hall is the history of magic in England during its glorious golden age. 475 pages. 175 photographs (18 in full-color). Hardbound with a dustjacket. Availiable Here.

Fake British Accents

Sorry, Anne: Hollywood's 10 Worst Fake British Accents

In light of Anne Hathaway's mangling of the Queen's English in One Day, TIME pays tribute to those thespians who have struggled through the years to pull off a convincing British accent

1/10

Anne Hathaway is no Gwyneth Paltrow. That's not editorializing on TIME's part but a simple fact when it comes to comparing the two American actresses' attempts to nail a convincing British accent. While Paltrow has excelled in the likes of Emma, Sliding Doors, Shakespeare in Love and Sylvia, Hathaway's hapless hammering of the Yorkshire dialect via the part of Emma Morley in One Day is heinous enough to almost bar her from visiting England.

And unfortunately for Hathaway, the critics have sharpened their pencils in almost unanimous agreement. "Her dodgy, hodgepodge British accent," wrote the Village Voice. "I was so distracted, wondering what version of the mother tongue she was going to attempt next — veering from wartime-BBC to proper 'Eeee by gum' clangers — I actually forgot to cry," noted Caroline Frost in the Huffington Post. And most damning: "If Hathaway's inconsistent British accent was the only problem in her acting, you could easily forgive and forget it. But rendering one of her weakest performances, she seems lost in the puzzle ..." said film critic Emanuel Levy. Perhaps she should stick to the Oscar-hosting gig after all.

Read more: http://www.time.com/time/specials/packages/article/0,28804,2089533_2089548_2089534,00.html #ixzz1WTPjPV7e

thespian
(thĕs'pē-ən)
adj.

1. Of or relating to drama; dramatic: thespian talents.
2. Thespian Of or relating to Thespis.

n.
An actor or actress.

Notting Hill Carnival

Notting Hill Carnival

www.thenottinghillcarnival.com/ - 頁庫存檔

The Notting Hill Carnival in 2010 in London's Notting Hill area will be Europe's biggest carnival or festival. On this website you will find a guide to the Notting Hill ...


AFP
（法新社倫敦28日電） 歐洲最大街頭節慶活動諾丁罕丘嘉年華會（Notting Hill Carnival）今天展開，為避免本月嚴重暴動重演影響活動，英國警方將湧入倫敦街頭嚴加戒備。 西倫敦這場為期兩天的加勒比海文化展示活動，往往吸引百萬狂歡者欣賞彩車上身穿異國服裝的舞者隨音樂 ...

'Recent Developments in British Painting' to Unit One

1931/10/5日
下午修錶,並觀英國現代畫展(有螺旋、靜物(手槍〉、 ...(

.. favourahle critical attention given to the 'Recent Developments in British Painting' exhihition at Tooth's Gallery in the autumn of 1931 isee 41). ...

Unit One (act. 1933–1935) was a gathering of artists, sculptors, and architects formed on the initiative of the painter Paul Nash, who announced the group's formation in a letter to The Times published on 12 June 1933. The members were seven painters—John Armstrong, John Bigge (1892–1973), Edward Burra, Frances Hodgkins, Paul Nash, Ben Nicholson, and Edward Wadsworth—two sculptors, Barbara Hepworth and Henry Moore, and two architects, Wells Coates and Colin Lucas (1906–1988). The painter Tristram Hillier replaced Hodgkins who dropped out almost at once. For Nash the new group ‘may be said to stand for the expression of a truly contemporary spirit, for that thing which is recognized as peculiarly of to-day in painting, sculpture, architecture’. Its principal purpose was to promote design and experimentation over the British preference for nature in art, for which Nash predicted ‘a new revival’.

Against this are opposed a few artists anxious to go forward from the point they have reached instead of turning with the tide … The formation of Unit One is a method of concentrating certain individual forces: a hard defence, a compact wall against the tide, behind which development can proceed and experiment continue.

In addition to the group there was a book entitled Unit One. Subtitled ‘the modern movement in English painting, sculpture, and architecture’, it was introduced by the poet and art critic Herbert Read, and comprised short contributions by all but one of the participants alongside reproductions of their work (that for Edward Burra was supplied by Douglas Cooper). The book was published in April 1934 by Cassell (whose chairman, Desmond Flower, was a friend of Nash) to coincide with the Unit One exhibition held that month at the Mayor Gallery, Cork Street, London. After London, the show toured to local authority art galleries in Liverpool, Manchester, Hanley, Derby, Swansea, and Belfast, where it closed in April 1935. This proved to be the sum of the group's activity, though it was not formally disbanded. Though short-lived, Unit One was very influential in establishing modernist art and architecture in Britain, and led directly to further initiatives that established London for a brief period in the 1930s as the leading European centre for modernist, especially abstract, art.

In his letter to The Times Nash stressed that the group's participants were artists with established reputations who worked as individuals rather than subscribers to a fixed programme: ‘the peculiar distinction of Unit One is that it is not composed of, let us say, three individuals and eight imitators, but of 11 imitators’. None the less Nash did identify ‘a quality of mind, of spirit, perhaps, which united the work of these artists’, and which he described as ‘truly contemporary’. It was Nash's belief that ‘English art has always suffered from one crippling weakness—the lack of structural purpose. With few exceptions our artists have painted “by the light of nature”.’ Nature, he added, ‘we need not deny. But art, we are inclined to feel should control’ (The Times, 12 June 1934).

Unit One marked the first appreciation, since the end of the First World War, of the need for a distinctively modern art that was not just reserved to abstraction. Thus the group's strong attachment to non-figuration, Nash's ‘structural purpose’, was also compatible with the new imaginative or metaphysical strain which marked the first tentative British address to surrealism. In their own ways several of the painters in the group reflected this position in their work. Nash himself—as well as Armstrong, Bigge, and Hillier—leaned towards an emergent surrealism, while Nicholson and Wadsworth, by contrast, produced completely non-figurative works. Burra was a protégé of Nash who played little personal role in the group, and his work, though familiar with aspects of surrealism, was closer to illustration and hard to classify in terms of the modern movement. Frances Hodgkins was considerably older than the group's other founding members, and was a painter of poetic landscapes and still lifes. Though aware of the modern movement, and respected by artists more experimental than herself, she may have dropped out because she regarded Unit One's agenda as too radical. The group's two sculptors tended both towards the organic and the abstract, a position Moore upheld throughout the 1930s, while Hepworth was shortly to shift to complete abstraction.

Introducing the group's book, Herbert Read declared that ‘the formation of Unit One appears to me to have more importance than any event that has happened in the history of English art for many years’. Read took a practical view of the artists' situation in which the economic depression had severely reduced the already modest income that most achieved from sales of their work. The need for collective activity in the face of dire economic conditions was stressed by Nash's friend, the critic Anthony Bertram (1897–1978), who lectured on Unit One when its exhibition went on tour. The group's formation was, therefore, a marketing strategy as well as an attempt to establish ‘difficult’ art with the British public.

The wider context for the creation of Unit One was a growing recognition—based on exhibitions from the late 1920s, notably at London's Leicester Galleries, Arthur Tooth & Sons, and the Lefevre Gallery—of significant artistic innovations and the establishment of British ties with Parisian art circles. Nash was roused to action by ‘Recent developments in British painting’, a show at Tooth & Sons in October 1931 in which (from the future group) he, along with Armstrong, Bigge, Burra, and Wadsworth, were represented. A more immediate spur was the reopening in spring 1933 of the Mayor Gallery with a major show of British and continental avant-garde art, ‘Recent paintings by English, French and German artists’. Timed to coincide with the publication of Herbert Read's polemical Art Now, the exhibition was the most ambitious assembly of international modern art in London since Roger Fry's Second Post-impressionist Exhibition in 1912. The Mayor Gallery was also the venue for the planning meetings that led to the formation of Unit One, with the young art historian Douglas Cooper, who worked at the gallery, acting as its secretary.

Like Read's Art Now, the group's book, Unit One, was uncompromisingly modern in its design as well as its content. Both works registered a determination to promote new art in London based on the tenets of international modernism and to avoid accusations of ‘Englishness’. Read's Art and Industry, also published in 1934, was influenced in both content and design by the Bauhaus, the design of whose publications also left its mark on Unit One. One purpose of the latter book was to promote experimental British art in Paris, where Nicholson was the only Unit One member to have had a major exhibition (with Christopher Wood at the Georges Bernheim Gallery in 1930) and where he and Hepworth were associated with the non-figurative artists who, in 1931, formed the group Abstraction-Création. Of the future Unit One members Wadsworth was the first to be elected to Abstraction-Création, in 1932, with Nicholson and Hepworth becoming members in the following year.

By the early 1930s modernist architecture, as well as painting and sculpture, was gaining a following in England. The British Broadcasting Corporation, with its new building in Portland Place in central London, was an important client, promoter, and employer of Wells Coates and other modernist designers. Coates and his fellow Unit One exhibitor Colin Lucas also received commissions for residential buildings and while the white-painted, flat-roofed, iron-windowed house was never widely popular with the British public, there was now at least a growing recognition of modernism's potential as a building form. Unit One included illustrations of one of Coates's best-known commissions, the Lawn Road Flats in Hampstead, London (also known as the Isokon building), close to where Hepworth, Nicholson, and Moore lived in Parkhill Road. In architectural circles, the near equivalent of the Paris-based Abstraction-Création organization was CIAM (Congrès Internationaux d'Architecture Moderne). Through the architectural writer Philip Morton Shand, Coates was approached by members of CIAM to set up a British branch; this led to the formation of the MARS (Modern Architecture Research) group, which was announced in the Architects' Journal in May 1933, a month before Nash's Unit One letter to The Times. Interdisciplinarity was of central importance to the latter project. Significantly, Nash's first approach in the formation of Unit One had been to Henry Moore, to link painting with sculpture and to acknowledge the importance of Moore's pivotal exhibition at the Leicester Galleries in 1932. His second approach had been to Coates, again to link the disciplines of modern painting and architecture, not least because he recognized the new architecture's growing prestige.

Unit One's success in its aim of improving and extending awareness of the modern movement owed much to the efforts of its members. Nash wrote an article for the BBC journal The Listener (5 July 1933)—then arguably the most important vehicle for educated middle-class values in Britain—in which he cast the group as an attempt to capitalize on a contemporary ‘desire to find again some adventure in art’ (p. 14). In October of that year Herbert Read drew attention to the group's modernism in an issue of the Architectural Review which, with its coverage of the fine and applied arts as well as architecture, had a unique position among publications concerned with British visual culture. Read was uncompromising in his belief that British art needed a new institutional framework, arguing that ‘existing academies in all the arts are disastrously out of touch with the spirit of the age, and the breach is widening. I do not see how it can possibly be made good: the principles involved on both sides are irreconcilable’ (p. 128). These articles were preliminaries to Unit One's own exhibition and drew large crowds to it. According to the Yorkshire Post (28 June 1934), ‘extraordinary interest is being taken in London in the foundation and fortunes of Unit One’ and even the New York Times reported briefly on the group on 19 August. The exhibition was widely reviewed and, in London in particular, there was interest and sympathy, as well as some opposition. A notable critic was Henry Tonks, Nash and Nicholson's former teacher at the Slade School of Fine Art, who voiced the traditionalist position of ‘inspiration from nature alone’ as championed by the now nearly defunct New English Art Club. In the regions the touring exhibition was widely noticed, with local papers covering the arrival of Unit One as a news event if not always with critical reviews. Inevitably there were sneers and incomprehension in some quarters. The group—for which Nash had initially suggested the more anodyne title the English Contemporary Group—was castigated in The Scotsman, for example, as ‘a small but very aggressive body under the captaincy of Paul Nash named “Unit One”, a title with a Soviet-like flavour savouring of mass production, the collective man and the like’.

Though short-lived, Unit One shifted the balance of British art during the 1930s in favour of abstraction. In 1933 Paul Nash, slightly older than most of the other members, and with a reputation based firmly on his drawings and paintings of the western front during the First World War, could claim to be the leading figure in British experimental art. By the time of Unit One's exhibition Ben Nicholson, now making entirely non-figurative reliefs, had grown in confidence, ambition, and standing, and in 1935 moved to convert the Seven & Five Society (founded in 1919, and of which he had been for some time a prime mover), into an entirely non-figurative exhibiting group, renamed the Seven & Five Abstract Group. Henry Moore was likewise growing in assurance and prestige, while Nash never quite achieved the international stature of his fellow Unit members. Nash himself had also changed tack, developing new interests in field archaeology, Druid myths, and the legendary power of standing stones, which began with his discovery of Avebury in summer 1933, and which soon led him towards an individual form of surrealism.

Without the continuing support of Ben Nicholson, who by 1934 had emerged as Britain's leading non-figurative painter, part of the justification for Unit One disappeared. In an attempt to regenerate the group early in 1935, Nash, with the support of Coates, highlighted Unit One's design work with the practical aim of helping to generate income. Nash and Coates contacted the American-born poster designer Edward McKnight Kauffer (1890–1954) and the emigré Hungarian artist and designer László Moholy-Nagy (1895–1946), who had recently arrived in England following the closure of the German Bauhaus School by the Nazi authorities. However, it proved impossible to reach agreement on a revived membership. Even so, Unit One can be seen as the progenitor and, to some extent, the model for later displays of avant-garde contemporary art, in particular the two oppositional London shows of 1936—Nicolete Gray's Abstract and Concrete, the capital's first international exhibition of non-figuration, and the International Surrealist Exhibition. Herbert Read's book Unit One, with its adventurous design and graphics, was followed by Myfanwy Piper's journal Axis (1935–7) and by the 1937 manifesto of abstract painting, sculpture, and architecture Circle, of which Nicholson was one of the editors. As a group, book, and exhibition Unit One therefore gained and retains a special place at the head of one of the most adventurous periods of twentieth-century British art and architecture.

Andrew Causey

Sources

H. Read, ed., Unit One: the modern movement in English architecture, painting and sculpture (1934) · C. Harrison, introduction, Unit One (1978) [exh. cat., City Museum and Art Gallery, Portsmouth, 20 May – 9 July 1978] · M. Glazebrook, introduction, Unit One: spirit of the 30's (1984) [exh. cat., Mayor Gallery, April 1984 ] · Paul Nash papers, V&A NAL

倫敦設計展 垃圾桶、路燈活起來

• 2011-08-27
• 中國時報
• 【林欣誼、實習記者柯喬齡／台北報導】

英倫風 　▲台北市立美術館26日舉行「倫敦超當代設計展」記者會，希望讓大家體驗倫敦的多元性及新舊交融的風格。（趙雙傑攝）

　垃圾桶、路燈、汽車、電話亭等都是城市裡的尋常風景，但一群來自倫敦的知名設計師，卻能在這些平凡物件上施加魔法，打破框限，創造出讓人驚嘆的作品。台北市立美術館現正舉辦倫敦設計博物館策劃的「倫敦超當代設計展」，邀請時尚設計師保羅.史密斯（Paul Smith）、名建築師薩哈.哈帝（Zaha Hadid）等十五位當代英倫設計名家，打造屬於倫敦的創意風景。

　如保羅.史密斯以幽默顛覆日常，將他最厭惡的垃圾與最喜愛的兔子結合，設計出互動式兔子垃圾桶；沒有五官的灰色大兔站立手持垃圾袋，每當有人丟進垃圾，牠的耳朵就會閃閃發亮，令人莞爾。目前這款垃圾桶設置在倫敦柯芬花園與荷蘭公園。

　紅色鑄鐵電話亭為倫敦的經典象徵，但這些老舊電話亭已被手機時代淘汰，因此無印良品歐洲創意總監「工業設施設計工作室」（Industrial Facility），將電話亭改造為郵遞服務的小郵站，採太陽能板供電，使用者還可在亭內與郵局人員視訊對話。

　展場最吸睛的是一部超過六十年歷史的賓利汽車，湯姆.迪克（Tom Dixon）拆解這台經典車款，換上從另一輛牛奶配送車中取出的低污染汽車零件，呼應環保節能的潮流。

　此外，湯瑪士.海澤維克（Thomas Heatherwick）設計的樹枝狀路燈，把呆板的路燈變成張牙舞爪的藝術裝置；薩哈.哈帝以影片《倫敦市願景》向觀眾提問：在城市中應該如何生活，並以電腦模擬倫敦市容如何因不同決策而改觀。

　融合古典與前衛的設計重鎮倫敦，是工業革命的火車頭，也是普普文化、迷幻藥和龐克的發源地，兼具美學傳統及爆發力的次文化能量。因此，除 了十四件以城市為題的創作，另還藉由一千五百多幅影像與物件，展示一九六○年至今英國社會與設計發展，如一九六○年代瑪莉.官（Mary Quant）的時裝設計、搖滾樂與迷幻風潮，八○年代柴契爾夫人上台與罷工議題，到九○年代倫敦市容改頭換面等。

　倫敦設計博物館館長迪耶.薩德奇（Deyan Sudjic）表示，以「設計」為主題的展覽可以在台北的美術館展出，是向來把設計與藝術劃清界線的英國所做不到的，他直言：「下一個世紀的世界創意中心，肯定會由亞洲接棒！」

England, My England (DHL)

D. H. Lawrence 的" England, My England "短篇小說 這真是篇 民足特性/血性 Englishness 的寓言

it] External links

• England, My England at Project Gutenberg

England, My England DHL勞倫斯中短篇小說選 4 書

芭蕾舞/Sadler's Wells Theatre

見本blog 林懷民做 Sadler 之井


1931年Sadler's Wells Theatre重新大裝修過


吳宓
第 171 頁 1931/1/21
6 — 7 乘地下電車至Liverpool 站氣又回至Angel在附近之Rosebury Restaurant 晚餐。七時半,至 Sadler Wells Theatre, Rosebury Avenue, E. C. 1觀 "Faust" Opera ( 英文 音樂係 Gounod 作).



薩德勒韋爾斯劇院
Sadler's Wells Theatre is a performing arts venue located in Rosebery Avenue, Clerkenwell in the London Borough of Islington. The present day theatre is the sixth on the site since 1683. It consists of two performance spaces: a 1,500 seat main auditorium and the Lilian Baylis Studio, with extensive rehearsal rooms and technical facilities also housed within the site. Sadler's Wells is one of the United Kingdom's foremost dance venues and producing houses, with a number of associated artists and companies who produce original works for the theatre. Sadler's Wells is also responsible for the management of the Peacock Theatre in the West End. Address Rosebery Avenue City Islington, London Designation Grade II listed Owned by Sadlers Wells Trust Capacity 1,560 on three levels


200 Lilian Baylis Type Dance, production and receiving house Opened 1683 Rebuilt 1765 Thomas Rosoman (mgr)
1998 RHWL and Nicholas Hare Previous names The New Spa Skating Rink and Winter Garden Production Repertory dance www.sadlerswells.com

第 102 頁
聽劇中的對白比較吃力,但總的說來,我很欣賞這個戲,也喜歡那些芭蕾舞和佈景。這個戲
可以說是老少皆宜,不像《彼得,潘》,樣只適合孩子們看。由於怕排隊,沒有吃午飯。 ...

第 108 頁
二十八日星期四陰昨晚為了訂星期六在薩德勒韋爾斯劇院演出的芭蕾舞票耗費了兩個鐘頭。
這都是我自己不好,我以為在老維克劇院演出,所以跑到那兒,結果浪費了一個小時。 ...

第 125 頁
去老維克劇場看芭蕾舞,聽古諾、埃爾加、德彪西、拉威爾和范漢恩等人的音樂。幼兒園
組曲是埃爾加作的,演奏結束時,聽眾們向指揮奧頓,多林喊"再來一個! ...

Savoy Place/Savoy opera./Ssavoy Theatre

該會議將在倫敦的IET London: Savoy Place 舉行。 研究報告中列出的100家公司總共佔有全球股票市值的20%和標準普爾(Standard & Poor s) 500指數股票市值的40%。被分析的歐洲公司包括阿斯利康(AstraZeneca)、BP、花旗(Citibank)、葛蘭素史克(GlaxoSmithKline)、滙豐 ...


http://www.answers.com/topic/savoy-theatre
Savoy opera.


Wikipedia

The former Savoy Palace.

Savoy Place is a large red brick building on the north bank of the River Thames in London, England. It is on a street called Savoy Place and Savoy Street runs along the side of the building up to the Strand. In front is the Victoria Embankment, part of the Thames Embankment. Close by are the Savoy Hotel and Waterloo Bridge. There are commanding views over to the South Bank and the London Eye.

The building is the headquarters for the Institution of Engineering and Technology (IET), formed from the Institution of Electrical Engineers (IEE) and the Institution of Incorporated Engineers (IIE) in 2006.

Outside the building, there is a statue of the leading Victorian scientist Michael Faraday by the Irish sculptor John Henry Foley (1818–1874).^[1]

Contents [hide] 1 History 2 Current building 3 Savoy Hill House 4 See also 5 References 6 External links

History

The location of Savoy Place was originally called the Savoy Manor, taking its name from Peter II, Count of Savoy. He was given the land by Henry III on 12 February 1246 and built a palace on the site. After his death in 1268, the property was left to a French hospice. The Savoy Palace was extended by successive Earls of Lancaster and John of Gaunt, but was burnt down during the Peasant's Revolt of 1381. The palace was modified to become a prison in the 15th century.

In 1509, Henry VII left money in his will for a hospital. This was completed on the site in 1517. The hospital fell into decline and eventual became a military barracks and prison.

Various religious institutions were based on the site, including a Jesuit school. The area was also a retreat for the families of French Protestants. In 1723, a German Lutheran church was built on part of the site, but demolished in 1877 for the construction of the Thames Embankment.

Current building

The current building, completed in 1889, was originally built to serve as an examination hall for the Royal College of Physicians and the Royal College of Surgeons. The foundation stone at the front of the building was laid by Queen Victoria on 24 March 1886.

On 1 June 1909, the IEE bought the lease and various alterations were carried out by H. Percy Adams and Charles Holden.

Savoy Hill House

Behind Savoy Place is a building originally known as Lancaster House and later as Savoy Mansions. It was built in 1880 by the Savoy Building Company. Occupants included beer merchants, architects, solicitors, and even Turkish baths in the basement.

In 1923, the newly created British Broadcasting Company (BBC) leased spare space for its broadcasts until 1932.^[2] Savoy Hill was bought by the IEE in 1984 and is now known as Savoy Hill House.

See also

• Savoy Chapel
• Savoy Theatre

References

1. ^ Statue of Michael Faraday at Savoy Place, London — Sculptor John Henry Foley.
2. ^ The BBC story, BBC.

External links

• Savoy Place website
• Archives research guide: The Savoy and Savoy Place
• LondonTown.com information
  

在1970年代的陳之藩先生介紹英國劍橋大學設邱吉爾學院
30年之後也許許多人都沒感覺 W. 邱吉爾之領導魅力

可是他的重要的話和偉業還是值得一讀的

Blood, sweat and tears

Meaning

Hard work and effort in difficult circumstances.

Origin

The expression 'blood, sweat and tears' is usually said to have been coined by Sir Winston Churchill in his famous "I have nothing to offer but blood, toil, tears and sweat" speech in 1940, when he warned the British people of the hardships to come in fighting WWII. Each country seems to have a shortlist of people to whom they attribute colourful quotations that lack an accredited author. In the USA the sage of choice is Mark Twain; in Ireland, Oscar Wilde and in England, Winston Churchill. However, it wasn't Churchill who coined 'blood, sweat and tears' - ultimately it is has a biblical source.

The first occurrence of the expression that I can find in print is in Sermons on Various Subjects by Christmas Evans, translated from the Welsh by J. Davis, 1837:

Christ the High Priest of our profession, when he laid down his life for us on Calvary, was bathed in his own blood, sweat and tears.

Evans, a.k.a. 'The John Bunyan of Wales' (25 December 1766 - 1838) was an eccentric but widely admired preacher. We can't now be sure if it was he who coined the phrase or his translator. Either way, we can be sure that the phrase was in the language by 1837.

Christmas Evans knew the Bible by heart and was no doubt influenced in his choice of words by this passage from The King James Bible, Luke 22:44:

And being in an agony he prayed more earnestly: and his sweat was as it were great drops of blood falling down to the ground.

Churchill, although no great theological scholar, borrowed 'blood, sweat and tears' for his famous wartime speech and can certainly take the credit for the popular take-up of the phrase into everyday language.

Al Cooper picked up on the phrase as the name for his new jazz-rock band in 1967. Cooper could hardly have known how apt a choice it was. The band has gone through more disagreements, sackings and changes of direction than most, with at least 140 musicians having been members at some point.

Many of the things Churchill is supposed to have said are wrongly attributed. One of the better ones that can be verified is his exchange with the socialite and politician Nancy Astor:

Astor: Winston, if I were your wife I would put poison in your coffee!
Churchill: And if I were your husband I would drink it.

My favourite Churchillism is a supposed reply to an unwelcome letter that has all the hallmarks of the man's work but is probably apocryphal:

"Dear Sir, I am in the smallest room in the house and your letter is before me. Very soon it will be behind me."

---

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Tavistock Place

Place 有時指街/廣場

晚至泰維斯托克地方( Tavistock Place)的小戲院聽戲,甚易了解。餘此後將常往也。十一月一曰星期日晴上午赴徐子俊君處,與遊溫德渥茲卡門( Garman ...

place

(Abbr. Pl.) A public square or street with houses in a town.

(通例P-))広場；（短い）通り, 街区, …町. ▼しばしば地名に用いる. （略：Pl.）

Irving Place
アービング町.

Sir Jacob Epstein

第 117 頁
二十六日星期五陰去看愛潑斯坦( )的畫展,他的作品都是極端現代派的。
... 事後有個人告訴我說,愛潑斯坦是位傑出的雕塑家,但他不雕刻石頭而搞泥塑, ...

第 141 頁
... 晴與李、吳同去拉雪茲公墓,看著名的雕塑《致死者》。阿貝拉德、埃露瓦斯、蕭邦、
塔爾瑪、聖,皮埃爾和奧斯卡,王爾德的墓都在這裡。王爾德墓前的雕塑系愛潑斯坦所作,

Sir Jacob Epstein The Tomb of Oscar Wilde, 1911, in Père Lachaise Cemetery

早讀 Loci Critici

1931/9/17日 四 雨

早讀 Loci Critici 下午閱報及文學史….

此為George Saintsbury 批評史之副冊

At the turn of the century, Saintsbury edited and introduced an English edition of Honoré de Balzac's novel series La Comédie humaine, translated by Ellen Marriage and published in 1895-8 by J. M. Dent. He went on to edit the series of "Periods of European Literature," contributing the volumes on The Flourishing of Romance and the Rise of Allegory (1897), and The Earlier Renaissance (1901). He subsequently produced some of his most important works, A History of Criticism (3 vols., 1900–1904), with the companion volume Loci Critici, Passages Illustrative of Critical Theory and Practice (Boston, U.S.A., and London, 1903), and A History of English Prosody from the 12th Century to the Present Day (i., 1906; ii., 1908; iii., 1910); also The Later Nineteenth Century (1909).

locus (拉丁)

• [lóukəs]

[名]（複-ci 〔-sai〕, -ca 〔k〕）

1 ((形式))場所, 位置；《数学》軌跡.

2 《遺伝学》（染色体内の）遺伝子座, 座.

倫敦買詩集當禮品

讀《朱自清日記》，可知葉公超為朱自清的好友。曾幫朱自清解釋英詩的特色和漢詩的問題，曾答應合辦雜誌。朱自清清旅英時，贈他包世臣的書法，所以朱自清在英國預約Masfield 的簽名的特別精裝本詩集回送他。

1931/11/14第 71 頁
…..我對他很有好感,從他那裡我學到了很多好的觀點和辨別能力。他送給我一本包世臣的書法,作為我的旅行紀念。

Courage & Co Ltd 啤酒

英文勇氣為courage，更是重要。所以戴名博士在倫敦喝到牌子為Courage 的啤酒，不禁說笑話，參考《戴明修煉 II》。

其實該啤酒公司的創始人之姓為 Courage

Courage & Co Ltd was started by John Courage at the Anchor Brewhouse in Horsleydown, Bermondsey in 1787.

Courage

Industry	Alcoholic beverage
Founded	1787
Founder(s)	John Courage
Products	Beer
Owner(s)	Wells & Youngs

Courage Brewery - Wikipedia, the free encyclopedia

新聞劇場 /淞滬之戰January 28th, 1932

第 108 頁1932/1/29
二十九日星期五陰無線電廣播說日本人佔領了上海,商務印書館和北火車站被炸成一片火海
。這真是人類文化的浩劫。我擔心東方圖書館是否還倖存著! ...

第 119 頁 1932/3/4日
四曰星期五晴同唐蘭共進午餐,去新聞劇場,看到淞滬之戰的一些臆片以及正在演出時事諷刺
劇的法國劇院的後台。借給魯這個下流坯十英鎊。五曰星期六晴訪問羅和魯。 ...




新聞劇場應該不是下面這一New Theatre

The Noël Coward Theatre, formerly known as the Albery Theatre, is a West End theatre on St. Martin's Lane in the City of Westminster. It opened on 12 March 1903 as the New Theatre, and was built by Sir Charles Wyndham behind Wyndham's Theatre which was completed in 1899. The building was designed by architect W.G.R. Sprague with an exterior in the Classical style and an interior in the Rococo style.

In 1973 it was renamed the Albery Theatre in tribute to the late Sir Bronson Albery who had presided as its manager for many years. Since September 2005, the theatre has been owned by Delfont-Mackintosh Ltd. It underwent major refurbishment in 2006, and was renamed the Noël Coward Theatre when it re-opened for the London premiere of Avenue Q on 1 June 2006. Noël Coward, one of Britain's greatest playwrights and actors, appeared in his own play, I'll Leave It To You, at the then New Theatre in 1920, the first West End production of one of his plays.

The theatre seats 872 patrons on four levels. The building is now a Grade II Listed structure.

The Illustrated London News 1932 Events of this year in the Illustrated London News

• 2,700,000 unemployed in Britain this meant 7 million people depended on the dole. The North of Britain suffered mostly
• January 28th - Shanghai captured by advancing Japanese forces
• March 14th - Ivar Kreuger killed himself in Paris with liabilities of £50,000,000 and caused panic in the stock markets again
• March 18th - Sydney Harbour Bridge opened - the worlds largest single-arch span
• March - The remains of the kidnapped Lindbergh baby are found after a ransom of $50,000 was paid
• April 24th - Mass trespass on Kinder Scout, by hikers to gain public access to the Peak District
• May 14th - President Doumer of France was shot by Paul Gorguloff
• May 21st - Miss Amelia Earhart flew the Atlantic solo from Newfoundland landing at Culmore, nr Londonderry
• July - Los Angeles Olympics, Mildred 'Babe' Didrikson won Gold Medal in 80 mtr hurdles, Gold in the Javelin and silver in High Jump
• October 30th - Riots in many cities in Britain provoked by hunger marchers
• November 8th - Landslide victory for Franklin Delano Roosevelt after promise of New Deal
• November - After general elections in Germany, Hitler's National Socialist Party was now the largest in the Reichstag
• December 25th - First Royal Christmas radio broadcast to the Empire by George V
• Aldous Huxley published Brave New World
• Sir Thomas Beecham founded the London Philharmonic Orchestra
• Franklin D Roosevelt elected 32nd US President
• Indian National Congress Party is declared illegal and Gandhi was arrested
• Cockcroft and Walton split the Atom
• The neutron was discovered

Illustrated London News 1932

倫敦的中國群英會:林語堂等 1932年1月和2月

倫敦的中國群英會:林語堂
根據朱自清日記

第 99 頁
1932/1/7
到吉爾福特大街十八號訪問林語堂先生,他向柳先生和我扼要地介紹了他的中文打字機設計
。 ...

第 118 頁
1932/2/27
三時,林語堂作《中國文化的時代精神》的講演,隨後大家討論頗為熱烈,也很有趣。今晨我
把日記打開放在桌上,忘了收起來,歇卜士夫人可能看了,這使我很不安。 ...

林语堂- 维基百科，自由的百科全书

以發明家言，林語堂早年即已立志發明中文打字機。當時，科學嚴謹的漢字檢索系統仍未建立起來；又由於漢字本身是符號文字而非字母文字，長期以來人們對製成 中文打字機的可能性多持懷疑態度。為解決這一難題，林語堂在數十年間鍥而不捨地研究探索，自斥資金，購置設備，堅持不懈地一再嘗試，以致一度傾盡家財、負 債累累，而最終成功發明 了「明快中文打字機」，幷於1946年在美國申請專利。六年半以後，到了1952年，他才取得該項發明的專利權。此打字機以「明快」命名，乃取其明易快捷 之意，寄託了他希望人人都能順利操作使用的心願。除開「明快中文打字機」，他另有若干項小發明亦獲得了專利——例如，其中一件是可以擠出牙膏的牙刷。



1920-48 的熱情

網路上林語堂的年表太簡略

【大紀元10月10日訊】1895年10月10日，清光緒廿二年，林語堂生於福建龍溪縣反子村。

1901年在村辦的銘新小學讀書。

1905年在廈門尋源書院學習。

1912年在上海聖約翰大學讀書。由於一直在教會學校學習，他的英語很好，思想受西方文化影響較深。

1916年上海聖約翰大學畢業後在清華大學教書，其間，攻讀中國古典文學。

1919年赴美國哈佛大學研究語言學，獲碩士學位；後轉為德國萊比錫大學學習，獲博士學位。

1923年獲博士學位後回國，任職北京大學教授、北京女子師範大學教務長和英文系主任。

1924年在報刊發表文章，為《語絲》主要撰稿人之一。

1925年後在多所大學教授英語。

1926年到廈門大學任文學院長。

1927年5月任國民政府外交部秘書，後任中央研究院英文編輯。

1931年參加中國民權保障同盟。

1932年9月起，先後創辦編輯《論語》、《宇宙風》等刊物，提倡「閑適幽默」的小品文，成為「論語派」的主要代表。

1934年創辦《人間世》。

1935年在美國用英文寫《吾國與吾民》、《京華煙雲》、《風聲鶴唳》等文化著作和長篇小說。

1936年去美國執教並從事寫作。

1938年離開美國赴英國、義大利而旅居法國。

1943年回國。

1944年曾一度到重慶講學。

1945年赴新加坡籌建南洋大學，任校長。

1947年，赴法國任國民黨政府推薦的聯合國教科文組織藝術文學組組長。

1950年，到美國繼續從事寫作。

1952年在美國創辦《天風》月刊。

1954年任新加坡南洋大學校長。

1960年在台灣定居。

1967年，由香港大學聘為教授，負責主編當代漢英詞典。

1975年被推舉為國際筆會副會長。

1976年3月16日病逝於香港。

林語堂是中國現代作家、翻譯家、教授、語言學家。有多達幾十部的著作。