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戏剧流派
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  “戏剧流派”译为未确定词的双语例句
     A Typical Representative of Le Theatre du Quotidien: Michel Deutsh
     法国日常戏剧流派的代表米歇尔·道区的理论与剧作
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     In the 1950s, a new school of drama appeared in France and thencame into vogue in Europe as well as in America.
     20世纪50年代一种新的戏剧流派发端于法国,后又在欧美各国流行开来。 1961年英国戏剧理论家马丁·埃斯林根据其艺术主张和特征,把这一戏剧流派命名为“荒诞派”戏剧。
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     This paper is to analyze from three points of view: his contemporary drama theory, his innovation of drama writing, and his initiation of the new drama schools. In this way, we can see how he became the pioneer of contemporary drama.
     这篇论文将从他对现代戏剧理论的建构、对现代戏剧创作的创新和对现代戏剧流派的开创这三方面来进行分析论述,以此来证明斯特林堡是一位现代戏剧的开拓者。
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     The Theatre of the Absurd was a new school of drama appeared on the stage of the Western world after World War II.
     荒诞派戏剧是战后出现在欧洲舞台上的新的戏剧流派
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     The Theatre of the Absurd is an "Anti-Theatre" during the postwar Europe.
     荒诞派戏剧是二战后出现在欧洲戏剧舞台上反戏剧流派,《等待戈多》被认为是轰动当时欧洲乃至世界文坛的荒诞派戏剧典范之作,它是贝克特从小说转向戏剧创作的转折点。
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     Expressionism is one of the branches of drama.
     表现主义是戏剧的主要流派之一。
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     Brief View of Drama
     戏剧概说
短句来源
     Schools of Diary
     日记的流派
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     A Textual Research on “Drama
     “戏剧”考
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     The author surveys the main trends in Theatre Studies in the West this century.
     本文作者审视了本世纪西方戏剧理论的主要流派
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Le Theatre du Quotidien, or the Theatre of Everyday Life is one of dramatic schools which sprang up in some European countries such as Germany and france in the 1970' s. The school places dramatists at the center of the creative process and highlights the life of nonentities at the bottom of society. This paper mainly discusses the theory and two major playscripts of Michel Deutsh, one of the representative figures of this dramatic school.

日常戏剧为七十年代以来在德法等国兴起的以剧作家为中心的戏剧流派,以社会低层小人物为表现对象。本文着重介绍该流派的重要代表米歇米·道区的理论和两部主要剧作。

Grotesquerie”,in the West,embodies two meanings:firstly its denotation “grotto”,and secondly an aesthetical form.“Absurdity” possesses three meamings:(1)its denotation of “not harmonious” and “irrational”;(2)a drama school;(3)a style image.“Grotesquerie”,which indicates an aesthetical form,and `absurdity',which denotes a kind of style images,are easily misused because they are both of funny forms,and sometime they unit as a same thing.\;

“怪诞”一词在西方有两种用法 ,一指本义“洞窟” ,二代一种审美形态。“荒诞”一词在西方有三种用法 ,一指本义“不和谐”、“与理性相背” ,二代一种戏剧流派 ,三代一种风格载体形象 ,即风格形象。“怪诞”指代审美形态和“荒诞”指代风格形象时两词容易混淆 ,原因第一是它们都有滑稽形式 ,第二是在某些情况下它们会重合为同一对象。两词容易混淆还与它们中文译名中有同一语素“诞”相关。

From the second period of the 20th century,the French playwright was suffering from a serious attack without precedent.There was neither master nor great play and the literature has lost its previous dominant position.However,playwrights didn't give up at all but struggled energetically.Thanks to their efforts,a new theatre school named “the theatre of everyday” was born at the end of the 70th.In the history of the French Theatre,Koltes is a very important playwright and his plays have become subjects of many...

From the second period of the 20th century,the French playwright was suffering from a serious attack without precedent.There was neither master nor great play and the literature has lost its previous dominant position.However,playwrights didn't give up at all but struggled energetically.Thanks to their efforts,a new theatre school named “the theatre of everyday” was born at the end of the 70th.In the history of the French Theatre,Koltes is a very important playwright and his plays have become subjects of many scholars' studies in the world.But,till now no attention was paid to him in China.This paper is just to fill this regrettable gap in presenting briefly the life and the major plays of this representative of the contemporary French theatre.It is not complete nor always correct.Our only purpose is to draw more studies on his plays in China.

廿世纪下半期以来 ,法国戏剧创作遭到了前所未有的打击 ,既不再有大师级的剧作家 ,也不再有伟大的剧作 ,文学的地位一落千丈。然而 ,剧作家们并没有坐以待毙 ,而是顽强抗争。在他们锲而不舍的努力之下 ,终于在 70年代末迎来了黎明 ,一个名为“日常戏剧”的流派应运而生 ,科尔代斯便是其中一位杰出代表。科氏在法国戏剧史上占据着非同一般的地位 ,已经成为各国学者研究的重要对象。然而 ,我国评论界至今还没有对其予以应有的关注 ,本文便是对这一缺憾所作的一点弥补 ,对这位法国新戏剧的代表作一番简单介绍。主要包括两个部分 ,分别介绍科氏的生平与剧作 ,不求全面正确 ,唯以抛砖引玉。

 
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