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京剧
相关语句
  beijing opera
    Constructing the New Opera-Pantomime of China——On Tian Hans Mode of Beijing Opera Reforms
    建设中国的新歌(舞)剧——论京剧改革的田汉模式
短句来源
    Brief History of Beijing Opera of the Northeast -the Subject Studies about the History of Northeastern Drama
    东北京剧史略(上)——东北戏曲史专题研究之四
短句来源
    How Are the Classics formed? ——Artistic Analysis of Act V of the Modern Beijing Opera The Story of the Red Lamp
    经典是怎样炼成的——京剧现代戏《红灯记》第五场“痛说革命家史”艺术分析
短句来源
    The New Development of Beijing Opera in Shanxi
    初探京剧在山西的新发展
短句来源
    Brief History of Beijing Opera of the Northeast——the Subject Studies about the History of Northeastern Drama
    东北京剧史略——东北戏曲史专题研究之四(下)
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  peking opera
    On the Close Relationship between the Peking Opera and Chinese Traditional Culture
    试论京剧与中国传统文化的密切联系
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    Decoration and Costume of Peking Opera
    装饰与京剧服装
短句来源
    Analysis and Study on Electroglottograph and Acoustic Test Parametersof Peking Opera Singers
    京剧各行当电声门图与嗓音声学检测参数分析与研究
短句来源
    Traditional culture,Peking opera culture and undergraduate education
    传统文化、京剧文化与大学生教育
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    Speech 3.0 software to do objective test and evaluation of their voice parametric values and provide useful clinical value for vocal training and protection of Peking Opera singers.
    Speech3.0软件可对各行当嗓音参数值进行临床客观检测与评估,对京剧嗓音的训练与保健提供了有益的临床价值。
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  “京剧”译为未确定词的双语例句
    Amateur Performers and Box Offices in Modern Shanghai (1911-1949)
    近代上海的京剧票友、票房(1911-1949)
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    Results The Fo of electroglottography and acoustic test of vowels like //、/a:/、/i/ pronounced by different roles showed remarkable difference. Other electroglottograph parameters like Fo,Jitter,Shimmer,NEE,CQ,CQP and acoustic test parameters such as Fo,Jitter,Shimmer,NEE all have their own parametric values(P>0.01,P>0.05). So they have statistical significance.
    结果京剧艺术各行当元音/e/、/a://、i/声门图和声学测试除Fo差异比较显著外,其他声门图参数Fo、Jitter、Shimmer、NEE、CQ、CQP及声学测试参数FoJ、itter、Shimmer、NEE均有其不同的参数值,有统计学意义(P>0.01、P>0.05)。
短句来源
    Identification of the Difference Between Sharp and Rounded Sounds
    学界京剧界对尖团音认识的区别和辨正
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    Transformation of Traditional Drama as seen in Model Opera
    从“革命现代京剧”看传统戏剧的转型
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    Discussing the Jingju Entering into University and Library's Work
    浅谈京剧走进高校与图书馆的相关工作
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  peking opera
Within a decade, the opera singer had become the selling point of the entertainment newspapers, and very soon newspapers and magazines specialising only in the Peking opera and its stars made their appearance.
      
(3) How these institutional changes led to the Qing court playing an active role in the transformation of a regional lower-class entertainment into Peking opera, a national art form appreciated by all classes.
      
Over 200 years of development, Peking Opera has been a unique art form.
      
Peking Opera dates back to 1790 when four local opera troupes from Anhui Province came to Beijing to perform at the imperial court.
      


The Chinese operas have undergone two important changes for the last hundred years. But they are different from the previous changes in history —from the operas in Song and Yuan Dynashes to short stories .in Ming and Qing Dynasties and from Kun opera to Beijing opera. They have designated a fundaental change in both theatrical view point and theatrical aesthetics. The first change took place during the twenty years before and after "May 4 Movement", thus completing the transition for the Chinese theatre and...

The Chinese operas have undergone two important changes for the last hundred years. But they are different from the previous changes in history —from the operas in Song and Yuan Dynashes to short stories .in Ming and Qing Dynasties and from Kun opera to Beijing opera. They have designated a fundaental change in both theatrical view point and theatrical aesthetics. The first change took place during the twenty years before and after "May 4 Movement", thus completing the transition for the Chinese theatre and drama from the classic to the modern time. The second change occurred from the eighties up until now and it has resulted in a more open and multi-styled theatre, issuing a new era for modern theatre. The two changes are linked with the western theatre influences which are both similar and different. The difference carrirs more significance.

中国戏剧近百年来经历了两次重大变化。这种变化与以前历史上发生过的从宋元南戏、杂剧到明清传奇、从昆曲到京剧的变化不同,这是戏剧观念和戏剧美学体系的根本变化。第一次变化发生在“五四”前后的二十多年间,其结果是完成了中国戏剧从古典时期向现代时期的过渡。第二次变化发生在八十年代初至今的十多年间,至今还在延续中,其初步结果是形成了戏剧艺术的开放性、多元性格局,把戏剧现代化推向了一个新时期。两次变化均与西方戏剧的影响有关,故曰“两度西潮”。但“两度”相比,有同亦有异。其相异之点,含有深刻的历史教训。

Qi Ru-Shang was an outstanding director in modern time while Mei Lan-Fang was gradually recognized as a master actor during the twenties and the thirties. They two jointly created a new style of "New Operas Played in Classic Costumes". The author bases his research on the development of the directing of modern Chinese operas, analyses Qi and Mei's respective ideals, their unexpected meetings theatrical and demonstrates the formation and development of the "Mei" Style. The article, therefore, shows the development...

Qi Ru-Shang was an outstanding director in modern time while Mei Lan-Fang was gradually recognized as a master actor during the twenties and the thirties. They two jointly created a new style of "New Operas Played in Classic Costumes". The author bases his research on the development of the directing of modern Chinese operas, analyses Qi and Mei's respective ideals, their unexpected meetings theatrical and demonstrates the formation and development of the "Mei" Style. The article, therefore, shows the development of the modern Chinese operas, the experience in and contribution to the renaissance of the classic operas.

齐如山是近代的一位学者型导演;梅兰芳是在本世纪20-30年代逐步获得中、外共认的表演艺术大师。齐、梅合作,创造出“梅派古装新戏”的京剧舞台演出新风格。本文试图以中国戏曲导演学在近代的发展为视角,从他们的各自意向、相互寻找、邂逅相遇、投石问路,论证“梅派”的酝酿和发端,从而探索出中国戏曲导演学在近代发展之初,齐如山与梅兰芳对于古典戏曲导演学新的复兴所付出的努力和取得的成功经验。

Drawing lessons from the birth, growth, prosperity and the gradual declineing of Kunqu Opera,the article analyses the cause of depression of Beijing Opera and Put forward the view that the outlet for rejuvenation of Beijing Opera lise in reform and development of itself,rather than carrying dogmatically and blindly following its tradition

本文以昆曲艺术的形成—兴盛—日渐衰落的过程为鉴,分析了现今京剧艺术不景气的原因,提出振兴京剧艺术的出路在于自身的变革与发展,而不是墨守成规地“继承”的看法。

 
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