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Description
POT POURRI CIRCLE TOTEM FINE STONE / Outre Noir MINI “TERRE NOIRE”"" TERRE NOIRE "" NOTES POT POURRI 5ml 1 VEGETAL AMBER MAD ET LEN MAD ET LEN MAD ET LEN Madeleinemad. len"" Scent = Oil CMR Object Pot Pourri NOTICE SHOPPING GUIDE BRAND MAD ET LEN COLLECTION POT POURRI CIRCLE TOTEM MADE IN Francecontainer : MoroccoMauritania MATERIAL SIZE (approx) mm 85 H 135 SHIPPING SIZE B WRAPPING Gift Wrapping
ポプリ サークルトーテム | ウートレノア ミニ "テレノワール"
TERRE NOIRE（テレノワール）
"夜の闇に舞う火の粉は、まるでホタルのように揺らめき、湿った大地の霧の中を漂う。夜の影よりもさらに深く、静かに漂うテール・ノワールの魂"
NOTES：原初の湿った大地、樹皮に富んだ腐葉土、化石化した古代の松、希少な熟成オークウッド
"夜の闇に舞う火の粉は、まるでホタルのように揺らめき、湿った大地の霧の中を漂う。夜の影よりもさらに深く、静かに漂うテール・ノワールの魂"
NOTES：原初の湿った大地、樹皮に富んだ腐葉土、化石化した古代の松、希少な熟成オークウッド
原始的な湿った大地、樹皮のような豊かな腐葉土、化石化した松の古木、希少な古いオークの木。
黒く湿った大地を抱く静かで力強いスパイシーさと、ほんのり甘さが同居する香りです。
POT POURRI
職人の手づくりから生まれた無骨なフォルムが芸術的な鉄の器に、オブシディアン（黒曜石）を敷き詰めたポプリです。溶岩が急激に冷えることによりできたオブシディアンは、ガラスのような光沢が印象的。冷たい手触りと艶やかな黒は洗練された佇まいです。
職人の手づくりから生まれた無骨なフォルムが芸術的な鉄の器に、オブシディアン（黒曜石）を敷き詰めたポプリです。溶岩が急激に冷えることによりできたオブシディアンは、ガラスのような光沢が印象的。冷たい手触りと艶やかな黒は洗練された佇まいです。
蓋のトーテムは大自然から着想を得たシンボリックなオブジェです。
日常生活の中で忘れ去られた感覚を呼び覚ます、生々しく、時代を超えた、多感覚的な香りの体験をお届けします。
付属のリチャージオイルを滴らしお楽しみください。香りの広がりは、蓋の開閉やリチャージオイルの量で調整可能です。
＊5ml のリチャージオイルが、1 本付属されています。
＊天然石にはあらかじめ香り付けはされていません。香りを楽しむためには、オイルを滴らしてからご使用ください。
VEGETAL AMBER
ガラスのような艶と鋭さが美しいオブシディアン（黒曜石）が、洗練 された佇まいを演出します。
使用上の注意
- 直射日光や乾燥を避けてご使用ください。
- 器はハンドメイドのため、一点一点異なる表情に仕上がっています。
- 天然石の大きさや色には個体差があります。
MAD ET LEN（マドエレン）
MAD ET LEN は、ゆったりとした時間がながれる南仏の小さな村「サン・ジュリアン・デュ・ヴェルドン」のアトリエで生まれました。
ブランド名の MAD ET LEN は、フランス焼き菓子の「マドレーヌ」に由来しています。マルセル･プルースト著『失われた時を求めて」という物語に、紅茶に浸したマドレーヌ（Madeleine：文中はmad.lenと記載）を食べたことで過去の記憶がよみがえるというエピソードがあります。味覚や臭覚からその時の記憶や感情を思い出すことをプルースト効果と呼ぶようになった有名なシーンであり、"思い出" は 私たちの調香の礎になっています。
Scent = Oil （調香）
私たちは天然成分のみを使用しています。シンプルであることにこだわり、ごく僅かな原材料を使用してレシピを作り上げます。南仏のアトリエを囲む大自然はインスピレーションの源です。この時にしか出会うことのできない限られた素材たちは、洗練されたアイデアを私たちに与えてくれます。自然のリズムと調和する季節の素材と対話し、シンプルさにこだわり、伝統的なアポせカリーの手法で繊細に調香します。パラフィンやその他の石油ベースの成分、CMR分子を拒否します。そして物語のように紡いだ香りは、奥行きのある世界を表現します。移りゆく季節の素材と対話し、自然のサイクルを尊重することで、芸術的な香りを調香します。
MAD ET LEN は、ゆったりとした時間がながれる南仏の小さな村「サン・ジュリアン・デュ・ヴェルドン」のアトリエで生まれました。
ブランド名の MAD ET LEN は、フランス焼き菓子の「マドレーヌ」に由来しています。マルセル･プルースト著『失われた時を求めて」という物語に、紅茶に浸したマドレーヌ（Madeleine：文中はmad.lenと記載）を食べたことで過去の記憶がよみがえるというエピソードがあります。味覚や臭覚からその時の記憶や感情を思い出すことをプルースト効果と呼ぶようになった有名なシーンであり、"思い出" は 私たちの調香の礎になっています。
Scent = Oil （調香）
私たちは天然成分のみを使用しています。シンプルであることにこだわり、ごく僅かな原材料を使用してレシピを作り上げます。南仏のアトリエを囲む大自然はインスピレーションの源です。この時にしか出会うことのできない限られた素材たちは、洗練されたアイデアを私たちに与えてくれます。自然のリズムと調和する季節の素材と対話し、シンプルさにこだわり、伝統的なアポせカリーの手法で繊細に調香します。パラフィンやその他の石油ベースの成分、CMR分子を拒否します。そして物語のように紡いだ香りは、奥行きのある世界を表現します。移りゆく季節の素材と対話し、自然のサイクルを尊重することで、芸術的な香りを調香します。
Object（器・オブジェ）
器やオブジェは、テクノロジーに頼ることなく、職人が受け継いできた技術を駆使して、すべて圧延鋼から作り上げることを大切にして職人によりひとつひとつ手作業で生み出されます。大量生産はせずひとつひとつ手作りで作られ、表面の細かな傷のある質感は生々しく、独特な凹凸、曲線の歪みには生産時の想いが刻まれています。重厚な無骨さと繊細さが交差するアーティスティックな佇まいです。経年で変化していく表情に、不完全で退廃的な美しさを感じさせます。どれも不揃いで同じ物はひとつもありません。荒々しいのにどこか洗練されている、匠の技が息づく芸術品です。
Pot Pourri （素材）
アンバー（琥珀樹脂）、ラヴァ（溶岩石）、色とりどりのファインストーン（鉱石）を器に敷き詰めました。
色・形・大きさなど、それぞれのユニークな表情が視覚を魅了します。大地の躍動感を身近に感じながら、自然のエッセンスを滴らしお楽しみください。
NOTICE
画像はあくまでも参考イメージとお考えください。オンラインにてご購入の際は当方にてご選択させていただきますので、お客さまのご希望をうかがうことは出来かねます。またご希望やイメージと違う作品が届いた場合も、ご返却はお受けしておりませんので予めご了承ください。ご購入をご検討の際は、必ず「SHOPPING GUIDE（ご利用ガイド）」をご参照ください。
画像はあくまでも参考イメージとお考えください。オンラインにてご購入の際は当方にてご選択させていただきますので、お客さまのご希望をうかがうことは出来かねます。またご希望やイメージと違う作品が届いた場合も、ご返却はお受けしておりませんので予めご了承ください。ご購入をご検討の際は、必ず「SHOPPING GUIDE（ご利用ガイド）」をご参照ください。
| BRAND | MAD ET LEN（マドエレン） |
| COLLECTION | POT POURRI CIRCLE TOTEM |
| MADE IN | France（container : Morocco・Mauritania） |
| MATERIAL | オブシディアン（黒曜石） |
| SIZE (approx) mm | Φ 85 H 135 |
| SHIPPING SIZE | B（配送方法・送料について） |
| WRAPPING | Gift Wrapping 希望（有料） |
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4.1 ★★★★★
Based on 9 reviews
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Product Reviews
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
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Reviewed in the United States on August 30, 2018
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful.
McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do.
However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies!
If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why.
McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism.
Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging.
With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else.
In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree.
But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
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Reviewed in the United States on April 18, 2017
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
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Reviewed in the United States on June 12, 2017
★★★★★ 5
ONE OF THE TWO BEST BOOKS ON SCREENWRITING
Format: Hardcover
Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.
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Reviewed in the United States on October 14, 2016