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| stella adler the art of acting summary: The Art of Acting , 1863 |
| stella adler the art of acting summary: The Invisible Actor Yoshi Oida, Lorna Marshall, 2013-09-13 Yoshi Oida is completely unique. A Japanese actor and director who has worked mainly in the West as a member of Peter Brook's theatre company in Paris, he blends the Oriental tradition of supreme and studied control with the Western performer's need to characterize and expose depths of emotion. In this practical and captivating study of the actor's art, Yoshi Oida provides performers with all the simple tools which help place the technique of acting behind a cloak of invisibility. Throughout, Lorna Marshall provides a running commentary on Oida's work and methods which helps the reader understand the achievement of this singular artist. A brilliant book, The Invisible Actor is filled with abundant insights to help actors perfect their craft. |
| stella adler the art of acting summary: The Art of Acting Stella Adler, 2000 Drawing on an archive of notebooks, transcriptions, and audiotapes, the lessons and insights Stella Adler brought to the craft of acting are presented. |
| stella adler the art of acting summary: The Technique of Acting Stella Adler, 2024-06-25 In The Technique of Acting Stella Adler imparts knowledge gained over decades on the stage and years of training with such greats as Stanislavski. This book presents invaluable training and technique for anyone aspiring to the stage. |
| stella adler the art of acting summary: Sanford Meisner on Acting Sanford Meisner, Dennis Longwell, 2017 |
| stella adler the art of acting summary: The Method Isaac Butler, 2023-10-17 The critically acclaimed cultural history of Method acting—an ebullient account of creative discovery and the birth of classic Hollywood. |
| stella adler the art of acting summary: The Great Acting Teachers and Their Methods Richard Brestoff, 2010 The Great Acting Teachers and Their Methods, Volume 2 features the innovative ideas and theories of: ¿ André Antoine ¿ Jacques Copeau ¿ Michel Saint-Denis ¿ Elia Kazan ¿ Uta Hagen ¿ David Mamet ¿ Anne Bogart ¿ Keith Johnstone BOOK SYNOPSIS In this follow-up to his first volume that has become an essential classroom text, Brestoff examines all new teachers and exposes the origin of today¿s ideas and exercises that acting students are practicing. What is the rationale behind the lesson? Why is it useful? Whether they can be called revolutionary or evolutionary, the conflicting theories of these teachers result from outrage and disgust. Andre Antoine, Jacques Copeau and Michel Saint-Denis represent a virtually unacknowledged yet powerful French influence on acting and actor training in the United States and abroad. American Realist teachers known as the passionate questioners, such as Elia Kazan, who is disgusted with Broadway¿s commercialism, Uta Hagen and David Mamet, and two influential ¿outside-the-box¿ teachers, Anne Bogart with her Viewpoints work and Keith Johnstone, creator of Theatre Sports, are also featured. While differences among the various acting theories and practices are noted and analyzed, so too are exciting and unexpected connections among them revealed. RICHARD BRESTOFF is Associate Professor of Drama and Associate Head of Acting University of California, Irvine. He is the author of four best-selling books for Smith and Kraus, including The Great Acting Teachers and Their Methods, The Camera Smart Actor, The Actor's Wheel of Connection and Acting Under the Circumstances. He has acted on Broadway and off, in Regional Theater and on camera, appearing on the 1991 Emmy Ballot for his Guest-Star performance on the CBS television series, thirtysomething. Richard holds an MFA in Acting form NYU where his teachers included Olympia Dukakis, Peter Kass, Joe Chaikin and Kristin Linklater. |
| stella adler the art of acting summary: To the Actor Michael Chekhov, In this practical guide, renowned actor and director Michael Chekhov shares his innovative approach to the craft of acting. Drawing on his extensive experience in the theater and his unique understanding of the actor's creative process, Chekhov presents a comprehensive system of techniques designed to help actors develop their physical, mental, and emotional abilities. Through a series of exercises and principles, actors can learn to create compelling, truthful performances that captivate audiences and bring characters to life on stage and screen. |
| stella adler the art of acting summary: Stella Adler on Ibsen, Strindberg, and Chekhov Stella Adler, 1999 In her long-awaited book, the legendary acting teacher Stella Adler gives us her extraordinary insights into the work of Henrik Ibsen (The creation of the modern theater took a genius like Ibsen. . .Miller and Odets, Inge and O'Neill, Williams and Shaw, swallowed the whole of him), August Strindberg (He understood and predicted the forces that would break in our lives), and Anton Chekhov (Chekhov doesn't want a play, he wants what happens in life. In life, people don't usually kill each other. They talk). Through the plays of these masters, Adler discusses the arts of playwriting and script interpretation (There are two aspects of the theater. One belongs to the author and the other to the actor. The actor thinks it all belongs to the author. . .The curtain goes up and all he knows are the lines. . .It is not enough. . .Script interpretation is your profession). She looks into aspects of society and class, and into our cultural past, as well as the evolution of the modern spirit (The actor learns from Ibsen what is modern in the modern theater. There are no villains, no heroes. Ibsen understands, more than anything, there is more than one truth). Stella Adler--daughter of Jacob Adler, who was universally acknowledged to be the greatest actor of the Yiddish theater, and herself a disciple of Stanislavsky--examines the role of the actor and brings to life the plays from which all modern theater derives: Ibsen's Hedda Gabler, The Master Builder, An Enemy of the People, and A Doll's House; Strindberg's Miss Julie and The Father; Chekhov's The Seagull, Uncle Vanya, The Cherry Orchard, and Three Sisters (Masha is the sister who is the mystery. You cannotreach her. You cannot reach the artist. There is no logical way. Keep her in a special pocket of feelings that are complex and different). Adler discusses the ideas behind these plays and explores the world of the playwrights and the history--both familial and cultural--that informed their work. She illumines not only the dramatic essence of each play but its subtext as well, continually asking questions that deepen one's understanding of the work and of the human spirit. Adler's book, brilliantly edited by Barry Paris, puts her famous lectures into print for the first time. |
| stella adler the art of acting summary: Stella Adler - The Art of Acting Howard Kissel, Stella Adler, 2000-11-01 (Applause Books). Stella Adler was one of the 20th Century's greatest figures. She is arguably the most important teacher of acting in American history. Over her long career, both in New York and Hollywood, she offered her vast acting knowledge to generations of actors, including Marlon Brando, Warren Beatty, and Robert De Niro. The great voice finally ended in the early Nineties, but her decades of experience and teaching have been brilliantly caught and encapsulated by Howard Kissel in the twenty-two lessons in this book. |
| stella adler the art of acting summary: Movement for Actors Nicole Potter, 2002-07-01 In this rich resource for American actors, renowned movement teachers and directors reveal the physical skills needed for the stage and screen. Experts in a wide array of disciplines provide remarkable insight into the Alexander technique, the use of psychological gesture, period movement, the work of Rudolph Laban, postmodern choreography, and Suzuki training, to name but a few. Those who want to pursue serious training will be able to consult the appendix for listings of the best teachers and schools in the country. This inspiring collection is a must read for all actors, directors, and teachers of theater looking for stimulation and new approaches. |
| stella adler the art of acting summary: My Life in Art Konstantin Stanislavsky, 1963 Describes his role in the Alexeiev Circle, the Society of Art and Literature, and the Moscow Art Theatre; his development of what became method acting; and his relations with Anton Chekhov, Anton Rubenstein, Leo Tolstoy, Maurice Maeterlinck, Isadora Duncan and Gordon Craig. |
| stella adler the art of acting summary: Soul Lanterns Shaw Kuzki, 2021-03-16 The haunting and poignant story of a how a young Japanese girl's understanding of the historic and tragic bombing of Hiroshima is transformed by a memorial lantern-floating ceremony. Twelve-year-old Nozomi lives in the Japanese city of Hiroshima. She wasn't even born when the bombing of Hiroshima took place. Every year Nozomi joins her family at the lantern-floating ceremony to honor those lost in the bombing. People write the names of their deceased loved ones along with messages of peace, on paper lanterns and set them afloat on the river. This year Nozomi realizes that her mother always releases one lantern with no name. She begins to ask questions, and when complicated stories of loss and loneliness unfold, Nozomi and her friends come up with a creative way to share their loved ones' experiences. By opening people's eyes to the struggles they all keep hidden, the project teaches the entire community new ways to show compassion. Soul Lanterns is an honest exploration of what happened on August 6, 1945, and offers readers a glimpse not only into the rich cultural history of Japan but also into the intimate lives of those who recognize--better than most--the urgent need for peace. |
| stella adler the art of acting summary: The Intent to Live Larry Moss, 2005-12-27 “I call this book The Intent to Live because great actors don’t seem to be acting, they seem to be actually living.” –Larry Moss, from the Introduction When Oscar-winning actors Helen Hunt and Hilary Swank accepted their Academy Awards, each credited Larry Moss’s guidance as key to their career-making performances. There is a two-year waiting list for his advanced acting classes. But now everyone–professionals and amateurs alike–can discover Moss’s passionate, in-depth teaching. Inviting you to join him in the classroom and onstage, Moss shares the techniques he has developed over thirty years to help actors set their emotions, imagination, and behavior on fire, showing how the hard work of preparation pays off in performances that are spontaneous, fresh, and authentic. From the foundations of script analysis to the nuances of physicalization and sensory work, here are the case studies, exercises, and insights that enable you to connect personally with a script, develop your character from the inside out, overcome fear and inhibition, and master the technical skills required for success in the theater, television, and movies. Far more than a handbook, The Intent to Live is the personal credo of a master teacher. Moss’s respect for actors and love of the actor’s craft enliven every page, together with examples from a wealth of plays and films, both current and classic, and vivid appreciations of great performances. Whether you act for a living or simply want a deeper understanding of acting greatness, The Intent to Live will move, instruct, and inspire you. |
| stella adler the art of acting summary: Marisol José Rivera, 1994 THE STORY: Marisol Perez, a young Latino woman, is a copy editor for a Manhattan publisher. Although she has elevated herself into the white collar class, she continues to live alone in the dangerous Bronx neighborhood of her childhood. As the play |
| stella adler the art of acting summary: No Acting, Please Eric Morris, Joan Hotchkis, 1979 Approach to acting and living that includes a foreword by Jack Nicholson. |
| stella adler the art of acting summary: Acting Onstage and Off : Montgomery College THET110 Robert Barton, 2015 |
| stella adler the art of acting summary: The Method Acting Exercises Handbook Lola Cohen, 2016-12-08 The Method Acting Exercises Handbook is a concise and practical guide to the acting exercises originally devised by Lee Strasberg, one of the Method's foremost practitioners. The Method trains the imagination, concentration, senses and emotions to ‘re-create’ – not ‘imitate’ – logical, believable and truthful behavior on stage and in film. Building on nearly 30 years of teaching internationally and at the Lee Strasberg Theatre and Film Institute in New York and Los Angeles, Lola Cohen details a series of specific exercises in order to provide clear instruction and guidance to this preeminent form of actor training. By integrating Strasberg's voice with her own tried and tested style of teaching, Cohen demonstrates what can be gained from the exercises, how they can inform and inspire your learning, and how they might be applied to your acting and directing practice. As a companion to The Lee Strasberg Notes (Routledge 2010), a transcription of Strasberg's own teaching, The Method Acting Exercises Handbook offers an unparalleled and updated guide to this world renowned technique. |
| stella adler the art of acting summary: The Fervent Years Harold Clurman, 1983-03-22 The Group Theatre was perhaps the most significant experiment in the history of American theater. Producing plays that reflected topical issues of the decade and giving a creative chance to actors, directors, and playwrights who were either fed up with or shut out of commercial theater, the Group remains a permanent influence on American drama despite its brief ten-year life. It was here that method acting, native realism, and political language had their tryouts in front of audiences who anticipated--indeed demanded--a departure from the Broadway show-biz tradition. In this now classic account, Harold Clurman, founder of the Group Theatre and a dynamic force as producer-director-critic for fifty years, here re-creates history he helped make with Lee Strasberg, Elia Kazan, Irwin Shaw, Clifford Odets, Cheryl Crawford, Morris Carnovsky, and William Saroyan. Stella Adler contributed a new introduction to this edition which remembers Clurman, the thirties, and the heady atmosphere of a tumultuous decade. |
| stella adler the art of acting summary: The God of Vengeance Sholem Asch, 2023-11-19 This is a drama written in 1906 that uses subject matter that would have been considered scandalous in many circles of the time. The drama is Yiddish. It involves a loving lesbian relationship, women openly talking about domestic abuse, and a desire to escape arranged marriages, and prostitution. It was first performed in 1923. One scene involves a kiss between the two lesbians - the first ever on Broadway - whereupon the whole cast was arrested. |
| stella adler the art of acting summary: Theatrical Worlds (Beta Version) Charles Mitchell, 2014 From the University of Florida College of Fine Arts, Charlie Mitchell and distinguished colleagues form across America present an introductory text for theatre and theoretical production. This book seeks to give insight into the people and processes that create theater. It does not strip away the feeling of magic but to add wonder for the artistry that make a production work well. -- Open Textbook Library. |
| stella adler the art of acting summary: Stella Adler Howard Kissel, 2000-11-01 Stella Adler was one of the 20th Century's greatest figures. She is arguably the most important teacher of acting in American history. Over her long career, both in New York and Hollywood, she offered her vast acting knowledge to generations of actors, including Marlon Brando, Warren Beatty, and Robert De Niro. The great voice finally ended in the early Nineties, but her decades of experience and teaching have been brilliantly caught and encapsulated by Howard Kissel in the twenty-two lessons in this book. |
| stella adler the art of acting summary: RESPECT FOR ACTING UTA. HAGEN, 2024 |
| stella adler the art of acting summary: Surviving Production Deborah S. Patz, 1997 |
| stella adler the art of acting summary: Art Worlds Howard Saul Becker, 1982-01-01 |
| stella adler the art of acting summary: Science and the Stanislavsky Tradition of Acting Jonathan Pitches, 2005-09-21 The Russian tradition is a major area of theatre studies Uses a range of historical and archival material, including previously unpublished material from the Michael Chekov archives International market - UK, America. Potential interest in Russia and France |
| stella adler the art of acting summary: Playing to the Gods Peter Rader, 2018-08-21 The riveting story of the rivalry between the two most renowned actresses of the nineteenth century: legendary Sarah Bernhardt, whose eccentricity on and off the stage made her the original diva, and mystical Eleonora Duse, who broke all the rules to popularize the natural style of acting we celebrate today. Audiences across Europe and the Americas clamored to see the divine Sarah Bernhardt swoon—and she gave them their money’s worth. The world’s first superstar, she traveled with a chimpanzee named Darwin and a pet alligator that drank champagne, shamelessly supplementing her income by endorsing everything from aperitifs to beef bouillon, and spreading rumors that she slept in a coffin to better understand the macabre heroines she played. Eleonora Duse shied away from the spotlight. Born to a penniless family of itinerant troubadours, she disappeared into the characters she portrayed—channeling their spirits, she claimed. Her new, empathetic style of acting revolutionized the theater—and earned her the ire of Sarah Bernhardt in what would become the most tumultuous theatrical showdown of the nineteenth century. Bernhardt and Duse seduced each other’s lovers, stole one another’s favorite playwrights, and took to the world’s stages to outperform their rival in her most iconic roles. A scandalous, enormously entertaining history full of high drama and low blows, Playing to the Gods is the perfect “book for all of us who binge-watched Feud” (Daniel de Visé, author of Andy & Don: The Making of a Friendship and a Classic American TV Show). |
| stella adler the art of acting summary: A Sense of Direction William Ball, 1984 By the founder of the famous American Conservatory Theatre (A.C.T.) in San Francisco - a candid account of his working method as a director. A Sense of Direction represents a life's work in directing. William Ball engages his audience in a wide-ranging discussion of the director's process, from first reading through to opening night. An informative, insightful, and often astonishingly clear look at the the process of making theatre. 'It should be on every young director's reading list... Highly recommended for both academic and public library collections' Choice 'Ball's observations, rooted in experience, wisdom and common sense, leap from the page to an experienced director's heart, stomach and mind' Theatre Journal |
| stella adler the art of acting summary: The Moscow Art Theatre Nick Worrall, 2003-08-29 Unprecedented in its comprehensiveness, The Moscow Art Theatre fills a large gap in our knowledge of Stanislavsky and his theatre. Worrall focuses in particular detail on four of The Moscow Art Theatre's best-known productions: * Tolstoy's Tsar Fedor Ioannovich * Gorky's The Lower Depths * Chekov's The Cherry Orchard * Turgenev's A Month in the Country |
| stella adler the art of acting summary: Hello Out There William Saroyan, 1976 Hello, Out There reveals the adventure of Photo Finish, an itinerant gambler, who is arrested and jailed in a small Texas town and charged with rape. |
| stella adler the art of acting summary: Acting on Impulse: Reclaiming the Stanislavski approach John Gillett, 2007-10-29 A manual full of enabling, easing exercises - it will enable you to analyse any scene. The cry of the actor at sea `I don't know what I'm doing' should, with this book, become a thing of the past' Sam West I'd recommend this book to anyone wanting an introduction to Stanislavksi or Michael Chekhov or acting in general. Matt Peover, LAMDA trainer and theatre director. Contains all the important things that need to be said about learning to act...in an extremely logical and sensible manner. Simon Dunmore, Editor Actor's Yearbook An inspiring and technically thorough practical book for actors that sets down a systematic and coherent process for organic, experienced acting. The author offers a step-by-step and demystifying Stanislavski-based approach to text, role, rehearsal and performance to be used in everyday work, and gathers together in one volume the essential tools for recreating human experience. A nuts-and-bolts practical guide with exercises for the actor to work through sequentially. Contains a Foreword by Sam West. John Gillett builds on his experience of teaching at drama school level as well as many decades of acting. This book, by an actor for actors, is a comprehensive, clear and inspirational guide to creating a truthful, dynamic and audience-captivating performance. |
| stella adler the art of acting summary: Real Life Drama Wendy Smith, 2013-08-06 Real Life Drama is the classic history of the remarkable group that revitalized American theater in the 1930s by engaging urgent social and moral issues that still resonate today. Born in the turbulent decade of the Depression, the Group Theatre revolutionized American arts. Wendy Smith's dramatic narrative brings the influential troupe and its founders to life once again, capturing their joys and pains, their triumphs and defeats. Filled with fresh insights into the towering personalities of Harold Clurman, Lee Strasberg, Cheryl Crawford, Elia Kazan, Clifford Odets, Stella and Luther Adler, Karl Malden, and Lee J. Cobb, among many others, Real Life Drama chronicles a passionate community of idealists as they opened a new frontier in theater. |
| stella adler the art of acting summary: Brando's Smile: His Life, Thought, and Work Susan L. Mizruchi, 2014-06-23 A Financial Times Best Book of the Year Brando’s Smile returns us to the power of his greatest performances. —Dan Chiasson, New York Review of Books When people think about Marlon Brando they think of the movie star, the hunk, the scandals. Here, Susan L. Mizruchi—who gained unprecedented access to Brando’s letters, audiotapes, revised screenplays, and books—reveals the complex man whose intelligence belies the high-school dropout. She shows how Brando’s embrace of foreign cultures and social outsiders led to his brilliant performances in unusual roles to test himself and to foster empathy in his audience. |
| stella adler the art of acting summary: The Art of Comedy Paul Ryan, 2007 Dyin' out there? Learn how to act funny from a top Hollywood expert. Want to know a secret? Sssshhhh. Great comedy actors aren't born...they're made. Who makes them?Paul Ryan, that's who. NowRyan, the top comedy acting coach in Hollywood, shares his secrets inThe Art of Comedy, a step-by-step guide for turning actors into comedy actors. Packed with exercises,The Art of Comedyexplains exactly how to build a character, how to incorporate improvisation into a written scene, where to turn for comic inspiration, and how to increase your comedic imagination. Also included is a technical analysis of comedy greats from Milton Berle to Jerry Seinfeld. For anyone who wants to work in film, in television, or in community theater, here's the complete guide to acting funny. Written by Hollywood's top comedy acting coach Packed with practical step-by-step exercises Gives actors at every level an edge at comedy auditions |
| stella adler the art of acting summary: Bad Boys Karen Burroughs Hannsberry, 2014-05-05 The film noir male is an infinitely watchable being, exhibiting a wide range of emotions, behaviors, and motivations. Some of the characters from the film noir era are extremely violent, such as Neville Brand’s Chester in D.O.A. (1950), whose sole pleasure in life seems to come from inflicting pain on others. Other noirs feature flawed authority figures, such as Kirk Douglas’s Jim McLeod in Detective Story (1951), controlled by a rigid moral code that costs him his marriage and ultimately his life. Others present ruthless crime bosses, hapless males whose lives are turned upside down because of their ceaseless longing for a woman, and even courageous men on the right side of the law. The private and public lives of more than ninety actors who starred in the films noirs of the 1940s and 1950s are presented here. Some of the actors, such as Humphrey Bogart, Kirk Douglas, Burt Lancaster, Edward G. Robinson, Robert Mitchum, Raymond Burr, Fred MacMurray, Jack Palance and Mickey Rooney, enjoyed great renown, while others, like Gene Lockhart, Moroni Olsen and Harold Vermilyea, were less familiar, particularly to modern audiences. An appendix focuses on the actors who were least known but frequently seen in minor roles. |
| stella adler the art of acting summary: Acting Toby Cole, 1947 |
| stella adler the art of acting summary: The Viewpoints Book Anne Bogart, 2014-04 An invaluable resource for theatre-makers, as well as for anyone with an interest in collaboration and the creative process, whether in art, business or daily life. Over the last twenty years, Viewpoints has ignited the imaginations of choreographers, actors, directors, designers, dramaturgs and writers. It is taught all over the world and used by countless theatre-makers in the rehearsal process to develop flexibility, articulation and strength in movement, and to enrich ensemble playing. In The Viewpoints Book, first published in the United States, acclaimed theatre directors Anne Bogart and Tina Landau introduce the history, terminology and philosophy of Viewpoints, and offer a step-by-step recipe for using it as both a training tool and a rehearsal technique. 'Viewpoints is timeless - a system belonging to the natural principles of movement, time and space. It is a philosophy translated into a technique for training performers, building ensemble, and creating movement for the stage.' Anne Bogart and Tina Landau |
| stella adler the art of acting summary: The Actor's Art and Craft William Esper, Damon Dimarco, 2008-04-08 William Esper, one of the leading acting teachers of our time, explains and extends Sanford Meisner's legendary technique, offering a clear, concrete, step-by-step approach to becoming a truly creative actor.Esper worked closely with Meisner for seventeen years and has spent decades developing his famous program for actor's training. The result is a rigorous system of exercises that builds a solid foundation of acting skills from the ground up, and that is flexible enough to be applied to any challenge an actor faces, from soap operas to Shakespeare. Co-writer Damon DiMarco, a former student of Esper's, spent over a year observing his mentor teaching first-year acting students. In this book he recreates that experience for us, allowing us to see how the progression of exercises works in practice. The Actor's Art and Craft vividly demonstrates that good training does not constrain actors' instincts—it frees them to create characters with truthful and compelling inner lives. |
| stella adler the art of acting summary: A Practical Handbook for the Actor , 2007 |
Stella这个英文名怎么样？ - 知乎
Stella!" ，后有前些年大热的美剧《摩登家庭》里一条叫Stella的斗牛犬。 Stella这个名字在当下美国社会并不常见，留下来的就只有这些文化符号，人家一是会好奇你一个外国人是出于什么心 …
为什么跟美国人说我叫 Stella 他们露出了非常神奇的表情？ - 知乎
rt，这个名字不好吗？ 我有个哥们，比利时的。 来中国好几年了。 刚到中国没俩月非要给自己起名叫董卓，拦都拦不住。
为什么跟美国人说我叫 Stella 他们露出了非常神奇的表情？ - 知乎
我有个哥们，比利时的。 来中国好几年了。 刚到中国没俩月非要给自己起名叫董卓，拦都拦不住。
为什么 doro 在中国互联网语境中成为苦情角色了？ - 知乎
Apr 17, 2025 · 在中国互联网语境中，doro 被视为一种苦情角色，与橘子产生了意外联系。
月更！2025年618鼠标入门及选购推荐（含无线鼠标、游戏鼠标）
May 19, 2025 · 选购鼠标时需要注意的点，帮助用户了解如何选择适合自己的鼠标。
Stella这个英文名怎么样？ - 知乎
Stella!" ，后有前些年大热的美剧《摩登家庭》里一条叫Stella的斗牛犬。 Stella这个名字在当下美国社会并不常见，留下来的就只有这些文化符号，人家一是会好奇你一个外国人是出于什么心 …
为什么跟美国人说我叫 Stella 他们露出了非常神奇的表情？ - 知乎
rt，这个名字不好吗？ 我有个哥们，比利时的。 来中国好几年了。 刚到中国没俩月非要给自己起名叫董卓，拦都拦不住。
为什么跟美国人说我叫 Stella 他们露出了非常神奇的表情？ - 知乎
我有个哥们，比利时的。 来中国好几年了。 刚到中国没俩月非要给自己起名叫董卓，拦都拦不住。
为什么 doro 在中国互联网语境中成为苦情角色了？ - 知乎
Apr 17, 2025 · 在中国互联网语境中，doro 被视为一种苦情角色，与橘子产生了意外联系。
月更！2025年618鼠标入门及选购推荐（含无线鼠标、游戏鼠标）
May 19, 2025 · 选购鼠标时需要注意的点，帮助用户了解如何选择适合自己的鼠标。
