13 november
来了英国这么久，终于成了一个有车族。
平时自己也算是一个环保，并且总是尽力支持环保的人，但是谈到买车的话题上，理智总是战胜不了情感的渴求。也许只是喜欢汽车所能带来的一种便捷，或许只是一种情结，就像买房一样。就算租房或许比买房更经济，有一个属于自己的小屋（也许在中国，前面还要加一个condidtion，就是70年）是每个人的梦想一样。
我是个车盲，所以选车的重任都落在小charlie的身上（难为他了；辛苦你，奖励一个拥抱），我只在样子颜色上把把关。经过价钱，性能和款式的最终磨合，终于选到一个满意的车。当然一定也要感谢‘汽车专家’ken的帮忙。没有他，也不能这么顺利！再次感谢！
其实买车之后给我每天的日常生活并没有带来太多的变化。我还是继续走30分钟的路上下班，因为学校附近停车太贵。平时为了吃到新鲜的蔬菜和水果，而且超市就在回家的路上，所以每天带一些吃的回家，几天吃完，也不需要周末开车去大购物。（或许这就是城市规划者希望看到的最佳城市活动模式吧？呵呵呵）有了车只是为周末出行提供了些方便和借口而已。朋友告诉我们，其实买车之后发现其他没什么，只是为身边的朋友提供了很多方便而已。哈哈哈，真的是如此吗？即使这样，也是心甘情愿的啊！有事您说话！
真正体会在英国 legal driving 的感觉，真畅快阿！原来正大光明的感觉真的很好呢！
12 november
Have just watched a 'strange' but extraordinary sole show, 'gloria days'. Speakless, weird, odd, but speical and unusual, artistically chaged! If you can still grab the chance, don't miss it! I am 100% sure you have never seen anything like this before. If you want to call this 'cutting edge performance', certainly you can. I know nothing about art, especially drama. So let someone else knows talks.
Gloria Days
Taliesin Arts Centre, Swansea
Elisabeth Mahoney
Saturday October 20, 2007
The Guardian
Henry Cyril Paget, the fifth Marquess of Anglesey, bankrupted himself despite an annual income of £8m in today's money. He did so by frittering it on beautiful fripperies and useless extravagances - he even modified his car so the exhaust sprayed perfume - and was known as the Dancing Marquess. This is the detail that performance artist Marc Rees focuses on in this arresting and at times thrillingly sensual combination of dance, film and sound.
Points of high drama from this short and endlessly flamboyant life, such as the auction held to flog his fantastically vast collection of precious accessories, are woven into a more abstract journey through its emotional landscape. Both are enacted on a black glass floor which forms a glossy mirror underfoot, perfect for the narcissistic marquess to gaze at himself as he strikes one of his many poses. "I pose therefore I am," he declares, haughtily.
Yet, the performance is mostly wordless, underlining the loneliness of this showy, bejewelled existence. It is this tension which the piece so movingly captures, switching between bleak monochrome minimalism and sequin-studded maximalism in the costumes, sound and visual backdrop.
Finally, Rees dances a sequence in which Paget strips himself bare in a snow shower, casting his floor-length fur coat and jewel-encrusted headdress aside and rubbing the snow into his skin as if to cleanse himself and start anew. This moment, like most in the performance, is only imagined, as so little is known about the marquess. All we know for certain is that he liked to spend, and he liked dressing up to perform. He would also, you sense, have loved this tender portrayal of his glittery, troubled life.
http://arts.guardian.co.uk/theatre/drama/reviews/story/0,,2195490,00.html
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