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   戏曲理论 在 戏剧电影与电视艺术 分类中 的翻译结果: 查询用时:0.019秒
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戏曲理论
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  drama theory
    Their drama theories represented the highest achievements of the dynasty and reflected the developing process of Ming drama theory.
    他们的戏曲理论代表了明代戏曲理论的最高成就,反映了明代戏曲理论的发展轨迹;
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    The research into this school can further crystallize the history of drama theory history of both Qing and Ming Dynasty and promote people's understanding and discovery of this school.
    对越中派的研究,有利于进一步梳理澄清明代戏曲理论史和戏曲文学史发展的脉络和轮廓,并促进人们对该派的了解和发现。
短句来源
    The second section is about drama theory of Yuezhong school.
    二.越中派的戏曲理论
短句来源
    The section summarizes and demonstrates the major points of the drama theory of Yuezhong school from the angle of development and association and researches into the relationship between the dispute in the drama theory circle of Ming Dynasty, the social thinking trends and drama writing.
    这一部分概括和阐述了越中派戏曲理论的主要观点,并从发展和联系的角度考察了越中派戏曲理论的发展轨迹及其与明代戏曲理论界的论争、社会思潮、戏曲创作的关系。
短句来源
    The major points of drama theory can be summarized as the theory of prototype, the theory of trait of work and the theory of drama history.
    文中对越中派戏曲理论观点主要概括为三部分:本色论、当行论和戏曲史论。
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  opera theory
    Summary of Fifty Years' Research on Li Yu's Opera Theory
    李渔戏曲理论研究50年综述
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    No matter dead or alive, Li Yu's opera theory has always been concerned and researched.
    李渔的戏曲理论一直为人所关注、所研究。
短句来源
  theory of drama
    The major points of drama theory can be summarized as the theory of prototype, the theory of trait of work and the theory of drama history.
    文中对越中派戏曲理论观点主要概括为三部分:本色论、当行论和戏曲史论。
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  “戏曲理论”译为未确定词的双语例句
    the other is of the "aesthetic state (Jingjie or Yijing)". This paper gives an overall analysis of the features and relations of "Wei (taste)" and "Qu (interesting)" theory in Chinese traditional opera criticism, explains the continuous development, and illustrates main concept of Chinese traditional opera aesthetics.
    本文初次从通论角度对中国古代戏曲理论批评中的"味"论及其主要特点,做了一个总体性的论述,旨在分析戏曲理论批评著作中的"味"及"趣"之概念的审美内涵,分析戏曲"趣味"论与其"境界(意境)"论的关系,由此说明中国古代戏曲理论批评家关于戏曲"美感"论的主要观念。
短句来源
    On the Concept of Performers′Cultivation by“Combing Their Inner World with the Outside”in Ancient Chinese Opera Theories
    论中国古代戏曲理论“内外结合”的演员修养观
短句来源
    On the Aesthetic Taste of Traditional Opera Criticism of China
    戏曲理论批评之审美“趣味”论
短句来源
    On A Jias Theory of the Traditional Chinese Opera
    阿甲戏曲理论初探
短句来源
    the far-reaching effect of this great literature achievement on the development of Chinese traditional opera and especially the theory of Ming Dynasty Chinese Opera is discussed in the third part.
    第三部分,这种伟大成就对中国戏剧理论的发展、尤其是明代戏曲理论所产生的深远影响。
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  drama theory
Drama theory differs from game theory in that it does not regard actors' preferences and perceived opportunities as fixed, but as capable of being changed by the actors themselves under the pressure of pre-play negotiations.
      
Drama theory recognises that the paradoxes of rationality might be the key to understanding certain sorts of conditions and preference changes.
      
Drama theory does not solve problems through conflict but seeks to resolve while recognising but seeking to avoid conflict.
      
In drama theory the player's objectives may adapt as the scenario unfolds as will their choices and opportunities for creating and influencing change.
      
  theory of drama
Manifesto for a theory of drama and irrational choice
      
This paper outlines the analytical theory of drama which has been developed and shows how it can be applied to practical situations.
      


This paper sums up the pioneering contribution of The Opera History of Song and Yuan Dynasties written by Wang Guowei both to the Construction of the theoretical system of modern opera and to the foundation of the theory of modern opera history in 4 aspects . In doing so , it gives us a valuable reference to the research of the theory of opera and its theory in the new century.

王国维《宋元戏曲史》在建构现代戏曲学理论体系、奠定现代戏曲史学基础方面做出了开拓性贡献,为新世纪戏曲理论和戏曲史学的研究提供有益的参照。

In ancient Chinese opera theories, the concept of “harmonious beauty”featured by harmony and unity, balance and stability was developed to its highest attainment on the condition of following the general law of operatic art. In the theories, the aesthetic proposition of “combing their inner world with the outside”, which attaches importance to integrating performers′self-cultivation and outside performing skills, has given impetus to the development of this concept.

中国古代戏曲理论在遵循戏曲艺术一般规律的前提下,尽情地将和谐统一、均衡稳定的“中和之美”思想发挥到极致,其中强调演员内在修养与外在表现技巧统一的所谓“内外结合”的戏曲美学命题,有推波助澜之势。

It is one important characteristic of Chinese ancient literature and art criticism that critics expressed their aesthetic feeling in terms of taste (Wei or Quwei). Up to now, The study of "Wei(taste)" and "interest(Qu)" in Chinese ancient poetic criticism caused more attention than that in Chinese traditional opera criticism. "Wei(taste)" and "Qu(interesting)" has two meanings in opera criticism. One is the meaning of popular sense and vulgar interesting; the other is of the "aesthetic state (Jingjie or Yijing)"....

It is one important characteristic of Chinese ancient literature and art criticism that critics expressed their aesthetic feeling in terms of taste (Wei or Quwei). Up to now, The study of "Wei(taste)" and "interest(Qu)" in Chinese ancient poetic criticism caused more attention than that in Chinese traditional opera criticism. "Wei(taste)" and "Qu(interesting)" has two meanings in opera criticism. One is the meaning of popular sense and vulgar interesting; the other is of the "aesthetic state (Jingjie or Yijing)". This paper gives an overall analysis of the features and relations of "Wei (taste)" and "Qu (interesting)" theory in Chinese traditional opera criticism, explains the continuous development, and illustrates main concept of Chinese traditional opera aesthetics.

 以"味"论"艺"是中国古代文艺理论批评的一个重要的传统特点,但学术界主要对"诗味论"研究较多,而对古代戏曲理论批评中的"味"论涉及甚少。古代戏曲理论批评中的"味"论,主要涉及两个层面的内涵,一是要通俗、有"俚趣",二是要有"境界(意境)"。本文初次从通论角度对中国古代戏曲理论批评中的"味"论及其主要特点,做了一个总体性的论述,旨在分析戏曲理论批评著作中的"味"及"趣"之概念的审美内涵,分析戏曲"趣味"论与其"境界(意境)"论的关系,由此说明中国古代戏曲理论批评家关于戏曲"美感"论的主要观念。

 
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