咔嚓。。。咔嚓

最后一次动用了专业摄影师应该是2004年。 千哩迢迢飞到墨尔本参加毕业典礼，也就破例加入队伍，拍了几张毕业照留作纪念。这一类的商业配套，说不上物有所值。 之前是结婚照，而处女作是在全家移民到澳洲之前的全家福。(当然，我现在打道回府，回到祖国了。）

说到摄影，最近接触了几位优秀的专业摄影师。与其自己欣赏，不如与大家分享。如下：

http://www.tinyjourneys.com/
http://www.portraitgallery.com.sg/ （马泰尔。陈, aka Mathew Tan, 所属）

这一天，在毫无准备下，在几个咔嚓声后，第四次成了摄影师那超极数码相机内的影像。这次的摄影师正是刚提过的马泰尔。陈。 想当年，结婚照和全家福的年代应该还是底片式的相机。话说回来， 这一组相片当中，有比较正常的pose，也有一些怪怪的。上载期有限，恕不延期，三天后将自动消失 :)

生老病死

主题似乎沉重了点, 不过，这一下天就经历了这一连串的事件。

早上，接到简讯获知小BB出世了。九月怀胎，就盼这一刻。准妈妈的兴奋不难理解。
下午，电邮来自澳洲的一位老伯伯朋友。 他因癌症失去了老伴。
傍晚，有朋友怀疑得了骨痛热症而入院 。

不完全是同样的程序,元宵夜也这样过去了。期盼虎年的到来。。。

元宵月 - 二月九日

周华健“ONE华健世界巡回演唱会” - 二月七日

The Concert:

The Review:

High到午夜12点 周华健狮城开唱激动落泪
《联合晚报》 (2009-02-08)

久违两年，周华健昨晚狮城再度开唱，吸引8000人捧场，前后唱足4小时，high到半夜12点，谢幕唱《璀璨》时激动飙泪！

周华健“ONE华健世界巡回演唱会”狮城一站昨晚于室内体育馆引爆，吸引8000名来自台湾、中国、本地等地的歌迷前去捧场；很难得的是，其中有观众还是洋人，足见华健的魅力！

为了不让歌迷失望，华健在4小时的演唱会上，选唱了超过40首经典歌曲，其中《爱相随》、《其实不想走》、《忘忧草》、《雨人》、《怕黑》等歌，首首几乎是观众熟悉的歌曲。在演唱会不同环节时，则有不同乐器伴奏，时而是高贵的竖琴，时而是浪漫的小提琴和萨克斯风，华健也一唱就唱到半夜12点，让观众值回票价！

除了动听的好歌外，华健在和观众互动时也表现了一贯的幽默。分享“屋顶”演唱会的概念后，他突然望着舞台两侧restricted view座位的观众，笑言：“演唱会后你们可以到外头退钱，可以打8折！但经济不景气，我开玩笑的，我会尽量走到你们那边去！”

接着，在演唱刚出道时曾唱的《快乐天堂》前，又踢爆：“那时还是唱片公司的助理，本来是由另一位歌手来唱，但最后没来，所以由我代替，你们想知道我是代谁唱吗？还是不说了！虽说是爱心活动，但有的歌手唱酬不对就不唱了！”

虽然演唱会全程有说有笑，但接近尾声时，华健在唱《璀璨》时十分有感触，唱着唱着，突然激动飙泪，边哽咽边唱，只叫歌迷心疼啊！

开场不久就忘词
周华健前后唱足4小时，high到半夜12点，谢幕唱《璀璨》时激动飙泪。 不愧“忘词天王”，周华健演唱会开场不久后就忘词！ “忘词天王”周华健昨晚还是忘词了！以《不愿一个人》、《我站在全世界的屋顶》、《你们》、《孤枕难眠》等歌热场后，他在唱《一起吃苦的幸福》时“忘词”毛病再发，唱到“每一次当爱走到绝路／往事一幕幕会将我们搂住／欢迎您／我们越来越爱回忆了”突然忘词，试图以“啦啦啦”带过，但还是被细心的观众发现，华健只抓着头发，笑着唱下去！

儿不听他专辑 周华健伤心
昨晚演唱会有别于华健以往个唱，主办单位为循主题营造“屋顶”的feel，在舞台设计方面花了不少心思，除了一贯阳台上的竹竿、卫星接收器，还特地用效果在舞台四周打造高楼大厦，灯光美、气氛佳，让观众陶醉其中。

在边自弹吉他，边与一群可爱的小朋友献唱《亲亲我的宝贝》后，他在唱《爱玫瑰》前表示：“儿子到了13、14岁从没听过我的专辑，直到他18岁到国外读书，我写了生平的第一封email给他，都是由我唱过的歌命串成的句子，但他却看不出来，这个才叫我伤心！”

他说，直到儿子长大了，恋爱了，有一天，看到儿子坐在一旁静静不出声，就随性拿起吉他自弹自唱《爱玫瑰》，唱到“要是难过就流一点眼泪”时，竟唱到儿子心坎里，让他听后眼光泛泪。华健笑说：“当下有一种残酷的快感，哈哈，你不听我的歌是吗？我偏要唱到你心坎里！”
异族同胞当特别嘉宾

周华健首邀本地异族同胞担任演唱会特别嘉宾，台上与他轧歌！
周华健难得昨晚邀请特别来宾上台一起轧歌。据悉，异族同胞Wynn在本地一家pub驻唱，获得华健青睐，受邀担任昨晚演唱会特别来宾，还现场自弹自唱《月亮代表我的心》！ Wynn除了献唱《月亮代表我的心》和Collin Raye的《Love Me》，他和华健一起唱《I don’t like to sleep alone》时，由他唱英语原本，另一箱则由华健当场翻唱成华语歌，你来我往，“笑果”十足！



The Family - First of 周华健's family photos that I've seen:

《联合早报》 (2008-12-29)

華麗上班族之生活與生存 - 一月三十一日

華麗上班族之生活與生存 - Design by Living

The Play:

The Synopsis:

http://www.huayifestival.com/design4Living/main2.html

生存需要聪明，生活需要智慧。一名传闻将被篡位的女老板，与12个穿著华丽的上班族，为了争夺一个可以鸟瞰整个城市的位置，尽出奇谋……事业的台风、爱情的地震、财富的海啸，在生存的边缘优雅地讨论生活，到底谁是最后的赢家？金马影后张艾嘉将演绎现代城市人面对生活与生存的无数考验与矛盾。 香港鬼才导演林奕华继2008年带来了构思大胆、手法新颖的现代版《水浒传》后，这次将从现代职场男女角度出发，看办公室的男人如何看女人，而女人又看见怎样的自己，再一次展现林奕华对城市生活的独特解读与想像。

与张艾嘉同台演出的还有首次演出舞台剧的台湾偶像剧《恶作剧之吻》的超人气偶像郑元畅，以及爆笑千面型男王耀庆等；鬼才影后明星偶像联手探索城市风尚，展示一幅华丽的城市蓝图新风貌。

The Review of 30 Jan show [Designing woman (Straits Times, 3 Feb 2009)]:

Sylvia Chang shines as a manipulative and ambitious chief executive

Actree and co-playwright Sylvia Chang said in an interview that she had poured her entire life's experience into this play, and this solid production showed her ambition and reach.

It is set in an office, where retrenchment looms in the wake of an escalating financial crisis. The office drones are ruled by a manipulative female chief executive played by Chang, who wants the company to be publicly listed despite the bad times. The immaculately dressed characters, who look like they walked out of a chic, understated lifestyle magazine, play elaborate games in the office - and bedroom - to get what they want.

But like the hungry characters in it, Design For Living wants to be more than about office politics. It also wants to say something about the nature of human ambition, disillusionment and the sacrifices one has to make for power and success. This becomes the play's strength and also its weakness. On the one hand, there is an unmistakable grandeur about the play - it is more than 3 hours long, beautifully staged and a representative range of characters join and collide in this urban jungle.

This is helped by a stunning set which fills the whole of the cavernous Esplanade Theatre. The gigantic pinewood structure with steps leading up to darkness simultaneously evoked an office lobby, the hierarchical corporate ladder and the steps to a temple of commerce.

Hong Kong director Edward Lam's vision of the workplace is characterised by frenzied movements, the frantic click-clacking of heels, opening and closing of documents, the constant moving of tables. It is a powerful vision, and he has orchestrated a sassy modern-day epic well attuned to the rthyms of the affluent society of our times.

On the other hand, the "office urban jungle" trope, where the big fish eat small fish, is not new. Chang's script, while smart and sassy, sometime lacked subtlety and relied on stereotypes. For example, the idealistic newcomer played by Taiwanese heart-throb Joe Cheng is unimaginatively called Li Xiang, the phonetic equivalent of "dream" in Mandarin. The character turns out to be a cliche - his aspirations in his job application are to be an astronaut or philanthropist.

Chang's backgroun as a screenwriter shows here too, in some cinematic quirks. She relies on a narrator to describe her characters' feelings like a voiceover in a film, which can be clever and wry at times, but mostly grating. There are also huge dashes of melodrama and an over-emotional soundtrack.

Some fat could also have been trimmed off the running time, which was worsened by two technical faults that caused the production to have 2 extra intermissions.

Yet, the veteran actress' performance is well worth the price of entry. She was fascinating to watch as Zhang Wei, the dragon lady who is really a tragic and broken figure. She morphs continually, from a wily old snake with the silky, menacing voice, to a master strategist, and finally a vulnerable woman unable to trust and love.

David Wang is her match in the acting stakes, playing an over-reaching, seductive young man who is his own ruin. Heart-throbe Joe Cheng, however, mistook acting like an overgrown child for idealism and innocence.

It has flaws, but Design for Living has the breadth and pathos of an operatic tragedy, with big emotions and big statements about hte state of modern life. Its revelations may not be new, but it brings them across with compelling, vivid intensity.