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   改良戏曲 的翻译结果: 查询用时:0.006秒
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改良戏曲
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  “改良戏曲”译为未确定词的双语例句
     Under the impact of western new ideas, clerisies of kte Qing firstly proposed primary theory of Chinese opera's meliorating and put forward their works in abundance.
     晚清文人在新思潮的影响下,首先提出了初步的改良戏曲的理论,并进行了大量的创作实践。
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  相似匹配句对
     Melioration of Drama in Late-Qing Dynasty
     论晚清戏曲改良
短句来源
     A Recollection of the Traditional Opera
     戏曲往事
短句来源
     Trends in Reforming Chinese Operas during the 1930s
     论20世纪30年代戏曲改良思潮
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     In breeding of polyploid of Brassica oleracea L.var.
     用改良L.
短句来源
     The improvement A.
     改良 A .
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The article is about Qi Rushan's theory,focusing on his study of the substance and renovation of traditional Chinses Xiqu.It is clear that he has experienced from criticizing Chinese Xiqu to praising it with reference to Western drama,which interestingly indicates the change of Chinese intellectuals' attitude to traditional Chinese culture.He considers “No movement that is not‘dancified’;no sound that is not‘ musicified’”as the substance of traditional Chinese Xiqu.He also advocated renovating traditional Chinese...

The article is about Qi Rushan's theory,focusing on his study of the substance and renovation of traditional Chinses Xiqu.It is clear that he has experienced from criticizing Chinese Xiqu to praising it with reference to Western drama,which interestingly indicates the change of Chinese intellectuals' attitude to traditional Chinese culture.He considers “No movement that is not‘dancified’;no sound that is not‘ musicified’”as the substance of traditional Chinese Xiqu.He also advocated renovating traditional Chinese Xiqu nuder this prerequisite.As a conclusion,as Iargue,although Qi Rushan holds the ostensible characteristics of Peking opera,he neglects the inherent characteristics of traditional Chinese Xiqu throughout Za ju in Yuan dynasty to Chuanqi in Ming and Qing Dynasty to Peking opera and other regional forms(Difang xi).

本文以齐如山的戏曲观点为考察对象 ,重点分析他对传统戏曲本质的认识和改良的主张。齐如山研究戏曲是因为对西方戏剧的兴趣 ,经历了一个始于否定而终于肯定戏曲的过程。他认为中国戏曲以“无声不歌 ,无动不舞”为本质特征 ,戏曲内容的表现以“合情合理”为原则 ,并强调在此前提下积极改良戏曲。他对京剧艺术系统而丰富的舞台形式美有敏锐而准确的认识 ,但忽略了对传统戏曲精神本质的把握 ,产生理论上的偏颇

 
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