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Air Ticket To Korea
- An airline ticket is a document, created by an airline or a travel agency, to confirm that an individual has purchased a seat on a flight on an aircraft. This document is then used to obtain a boarding pass, at the airport.
- an Asian peninsula (off Manchuria) separating the Yellow Sea and the Sea of Japan; the Korean name is Dae-Han-Min-Gook or Han-Gook
- A region in eastern Asia that forms a peninsula between the East Sea and the Yellow Sea, now divided into the countries of North Korea and South Korea. Ruled from the 14th century by the Korean Yi dynasty but more recently dominated by the Chinese and Japanese in turn, Korea was annexed by Japan in 1910. Following the Japanese surrender at the end of World War II, it was partitioned along the 38th parallel in 1948
- (korean) a native or inhabitant of Korea who speaks the Korean language
- Tucano (also Tukana, Tucana, Tukano, Dasea, Juruti, Juriti, Yuruti, Tariana, Tariano, Konea, Korea, Patsoka, Wahyara; autonym: Dahseye) is a Tucanoan language spoken in Amazonas, Brazil and Colombia.
'On Air' Episode 7 Summary
SW Management forged signed and sealed a movie contract on Oh Seung Ah's behalf without her knowledge, as her seal was with SW Management. The movie was due to be filmed next month. Jang Gi Joo had to do some damaged control quickly because if Oh Seung Ah failed to live up to the contract, she need to pay a huge compensation to the film company. She was frenzy over it, and wanted to draw her money to pay the compensation.
(The seal is very important to the society like Japan & Korea. In China the practice is already deem obsolete. It is usual to seal and sign for important documentation. I personally have one craved, but seldom used it officially)
Jang Gi Joo had to go to Manager Jin for answers. Jang punched Manager Jin twice. There was some rift with them, some history that go along way back somewhere. Jang Gi Joo asked Oh Seung Ah to believe in him to settle this. He finally asked Manager Jin to ask his talent Cherry to appear in the movie. He managed to talk over with Manager Jin to have this matter settled. Jang puts his negotiating skill to the maximum. He was very well versed in the business.
In the script of "Ticket to the Moon" some changes to the script was made. The main actress is not longer the low of 7 years old IQ Eun Young, who have inherited a large fortune from her parents, but the psychiatrist who handle her case, who happens to be her long lost elder sister, Eun Sok. At the orphanage there were separated. Both of the siblings couldn't remember that they had sibling. Then come a high profile lawyer from a top legal firm in Australia here to help to protect Eun Young and her inheritance but also to find the whereabouts of the elder sister, who also have a share in the inheritances. Eventually it may turn out that the main actress is not Eun Young but Eun Sok, the psychiatrist and also long lost sister. This idea was originally highlighted by Oh Seung Ah, who said as 16 episodes about a low IQ Eun Young may not be able to sustain the story. Lee Kyung Min seconded that it may be some truth to it. Seo Young Eun was not please when she heard that these feedbacks came from Oh Seung Ah.
There was a touching scene when Lee commented that she is scripting Eun Young like a 17 years old rather than 7 years, and asked her to look at her son to find out how they are like. Seo was sorry that she wasn't around for her son, leaving him to nanny(who happens to be Lee's mother). But her son consoled her that what she wrote was good and he liked her dramas. There was a comment that her drama are rated for viewers for 15 & above with kissing scenes, and it is bad to watch. Her son replied no one bothered to follow those ratings. He encouraged her to write better dramas.
There was also some technicals problems, as the company that represent Seo Young Eun, has taken some investment from Manager Jin to have his talent Cherry appear as the main actress to the script. Much to the dismay of Seo Young Sun and later Lee Kyung Min, he told the company off that he is the PD and have the right to choose the talents and not them. He also asked them not to disturb Seo Young Eun in this, as he needs her to concentrate on writing the script. I liked how he told them off in protecting Seo from the stress of having to look at talents for her scripts
Seo Young Eun wasn't too happy either. She made a comment when Cherry tried to act the low IQ Eun Young in the script. (In broadcast, the artiste have to speak the Seoul dialect. It is the official broadcast language. Most of the Koreans tend to speak other form of provincial dialect, i.e Busan or Jeju where they are sometimes totally off from the mainstream.)
Cherry wanted to pretend to be the low IQ Eun Young, "Chogayo" as I. Chegayo is I in the Seoul dialect. Chogayo means went instead of I.
Lee Kyung Min insisted that their main actress is Oh Seung Ah, Oh Seung Ah needs to be in it, as she needs to prove that she is an actress and not just a pretty face endorsed commercials. As Seo Young Eun mentioned she is a PPL actress (product in placement) rather that her talent in acting, she doesn't have many more years being a PPL actress, and needs to prolong her value in the entertainment.
There is scene where she was doing a reading of script and she has so many NGs in delivering her lines.
There was also a scene where Seo Young Eun's agent wanted to give some under table money to Lee Kyung Min during a lunch meeting. Seo Young Eun had always thought the Lee took the money, but later the agent confirm that he never took the money, as there was a figure of speech "There is never a free lunch" "the things that I most fear is money". Seo feels embarrassed to say that Lee was otherwise.
In a reporter interview. Oh Seung Ah confirm that she will be acting in 'Ticket to the Moon' as the low IQ Eun Young. The reporter commented whether she can bring out that character but as her arrogant and rude self, she criticized the reporter
Magdalena Abakanowicz "Nierozpoznani" ("Unrecognized")
Born 1930 in Falenty near Warsaw, lives and works in Warsaw. One of the internationally most acclaimed Polish artists, her works transcending the conventional scope of sculpture.
Abakanowicz studied at the Warsaw Academy of Fine Arts in 1950-1954. For a while she tried her hand at painting, producing monumental gouache compositions on cardboard and canvas, but soon found her own way. Her first major independent achievement were the three-dimensional textiles - soft sculptures in fact - known as "Abakans", a derivation of her family name. They were an attempt to reconcile her fascination with the soft, loose fabric and expressive colour. Abanowicz was also intrigued by the texture of the matter, her "Abakans" - made from dyed sisal fibre - shocking with their multiplied organic nature. At exhibitions they were suspended from the ceiling, the artist breaking away from the tradition of flat surfaces of decorative textiles hung against the walls. Years later she wrote:
"['Abakans'] irritated. They were untimely. There was the French tapestry in weaving, pop-art and conceptual art, and here there were some complicated, huge, magic [forms]...".
Yet "Abakans" inspired admiration for the artist's ingenuity and consistency, becoming Abakanowicz's ticket to international salons. They delighted the viewers and critics at the 1964 International Biennial of Tapestry in Lausanne and earned the artist the gold medal at the 1967 Sao Paulo Biennial, triggering off Abakanowicz's international career.
"Abakans" reflected well Abakanowicz's sculptor-like approach to fabric and to technical possibilities of moulding it. She took advantage of its softness, pliancy, and submissiveness to the artist's intentions. However, the huge, circular sheets remind one more of the animal than of the plant kingdom. "Abakans" look dangerous, resembling flakes of porous hide stripped off giant monsters, an effect enhanced by the artist's use of a very big, superhuman scale, the law of the series and activities remindful of environment art.
Abakanowicz has remained faithful to the law of the series, preferring sets to individual works. The law, applied in "Abakans", was even more manifest in her 1970s exhibition Organic Structures.
In the space of the gallery she would place a few dozen oval forms made of sackcloth and filled with a soft substance. This was an expression of her childhood experience, on which she has commented:
"After many years soft things of complicated tissue have become my material. I feel a relationship and kinship with the world which I do not want to know but through touching, feeling and relating to the part of myself which I carry deep inside me. [...] There is no tool between me and the material I create with. I choose it with my hands. I shape it with my hands. My hands transmit my energy to it. By translating an idea into a shape, they will always pass on something escaping conceptualisation. They will reveal the unconscious".
Abakanowicz's further sets of works tended likewise to be made from pieces of coarse sackcloth which she sewed and pieced together and bonded with synthetic resin. This is how she made "Alteracje [Alterations]" (1974-5) - twelve hollowed-out human figures sitting in a row; "Glowy [Heads]" (1973-5) - a series of enormous, solid forms remindful of human heads without faces; "Plecy [Backs]" (1976-80) - eighty slightly differing negatives of the human trunk; "Tlum I [The Crowd I]" (1986-7) - fifty standing figures; "Ragazzi" (1990) - forty "skins" stripped off young boys; and "Infantes (1992), 30 Odwroconych [30 Backward seated Figures]" (1993-4), "7 Figur Tanczacych [7 Dancing Figures]" (2001-2).
The elementary module and reference of Abakanowicz’s works has been man, his condition and position in modern world, and most of all his confusion by the excess and anonymity in the crowd. This is reflected in her sculptures of the 1980s and 1990s, in which she used new materials: metal (mostly bronze, such as in the series "Bronze Crowd", 1990-91; "Puellae", 1992), wood, stone, and sometimes clay.
Her art of that time returned for a while to the idea of "organic structure", as evidenced by "Embriology" - the environment made at the Vienna Biennial in 1980, made of several dozen soft, egg-like lumps of various sizes dispersed round the exhibition room. In "Katharsis" (1986) she used even more simplified forms, while retaining her interest in the figure. This open-air realization for the Guliano Gori Foundation in Florence showed a group of thirty-three de-humanized, three-metre-tall human torsos cast in bronze. Abakanowicz showed a man of lost identity, an androgenic everyman, emphasizing the commonness of human fate and the painful burden of corporality. She showed a dead reflectio
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