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classical drama
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  古典戏曲
     The second chapter discusses the image of "back garden" in Chinese classical drama.
     第二章:中国古典戏曲中的“后花园”意象。
短句来源
     It not only indicates the formation of the historical study of Chinese classical drama, but also initiates a new era of the study.
     王国维的《宋元戏曲史》在一个理论框架下 ,系统梳理宋元戏曲乃至中国戏曲的发展历史 ,标志着近代意义的戏曲史学的形成 ,并由此把古典戏曲研究带上了一个新的起点
短句来源
     Business culture's flourishing of the capital of Song and Jin dynasties and classical drama's maturity
     宋金都城商业文化的高涨与古典戏曲之成熟
短句来源
     Emergence of Historical Study of Chinese Classical Drama in the Beginning of 20th Century
     20世纪初期古典戏曲史学的形成
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     The Romantic Comedy's Character of Classical Drama of Ch Ina
     中国古典戏曲的浪漫喜剧品性
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  古典戏剧
     Liang Shiqiu's thought of drama was formed on the basis of the Chinese traditional dramas and by absorbing the thought of the western classical drama.
     梁实秋独特的戏剧思想就是在中国传统戏剧的基础上,通过融汇西方的古典戏剧思想而形成。 其戏剧思想的主要内容包括戏剧的本质:模仿;
短句来源
     Intension of China's Classical Drama Scene
     试论中国古典戏剧情景之内涵
短句来源
     The ending- expecting awareness, as a special aesthetic mentality of the Chinese people, has greatly influenced the structural features, performing patterns and content of Chinese classical drama.
     结果期待意识作为一种极富民族特色的审美心理,它对中国古典戏剧的结构特征、表演程式及内容等都产生了明显影响。 戏剧的题目、副末开场、楔子、冲场、小收煞、角色行当的符号化等都体现了这一审美心理。
短句来源
     Multi-orentional Paradigm· Narrative Representative Core· Suspense ──On the Formation of the Chinese Classical Drama from the Tayaoniang
     多元聚合·代言体叙事本位·悬置──论中国古典戏剧形成于“踏摇娘”
短句来源
     The Ending - Expecting Awareness in Chinese Classical Drama
     中国古典戏剧中的结果期待意识
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  “classical drama”译为未确定词的双语例句
     Build the Classical Drama Space with the Modern Techniques
     用现代技术构筑古典演剧空间
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     Wang Guowei's Research on Chinese Classical Drama and Modern Academic Paradigm
     王国维戏曲研究与现代学术范式
短句来源
     Challenge to Drama Tradition: the Exploring and Creating of Li Yu and Leixin about Classical Drama Aesthetics
     挑战戏剧传统:莱辛和李渔对于传统戏剧美学的探索与创造
短句来源
     Theory of Bense by Xu - wei has an important position in the critical history of Chinese classical drama, and it was composed of the popularity and truth.
     徐渭的本色论在中国古代戏曲理论史上有重要地位,其主要内容是“俗”和“真”。
短句来源
     This paper categorizes and illustrates the basic phases of translating Chinese classics into English with reference to translating the major headings in Li Yu's Essay on Classical Drama and the representative translation theories both at home and abroad in the hope that some directional approaches in this field may be explored to make such translation practices more conscious and purposeful.
     本文以《李笠翁曲话》主要章节的标题英译为例,借鉴中外具有代表性的翻译理论,归纳、阐释了汉语典籍英译的基本步骤,以期在这一领域探索出具有指导性的基本规律,以便在此类翻译实践中具有更大的自觉性与目的性。
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The artistic pursuit of Yu Qiuyu's cultural proses starts from ceremony and returns from cermony. This ceremony arouses human being's whole perceptual intuition with a unique spiritual atmosphere. It follows the Western classical dramas and creates a mysterious atmosphere which is similiar to the human being's primitive ceremony and the primitive religion.

余秋雨文化散文的艺术追求从仪式出发再回归仪式。仪式以独特的气氛唤起人类整体感性直觉, 它追求西方古典戏剧崇高宏大的审美形式, 营造类似人类原始仪式和原始宗教的神秘气氛。作家志在借助原始祭仪和宗教的神貌构建集体意志对个体意志的精神递交仪式,致力铺排个体与文化祖先展开对话的心理、精神场面。“我”贯穿于每一个“找寻”的过程, 演绎个体由放逐走向回归的生命必然、历史必然以至文化必然。仪式是作家从艺术感性走向历史文化理性、挖掘民族集体深层心理即深层文化心理根柢的通途

The historical study of Chinese classical drama came into being at the beginning of the 20 th century when the emergence of new historical viewpoints brought new thought and methods into the study. Wang Kuo wei's Sung Yuan Hsi Chu Kao made a systematic study of the history of Chinese drama with a focus on the drama of Sung and Yuan drnasties under the same theoretical framework. It not only indicates the formation of the historical study of Chinese classical drama,...

The historical study of Chinese classical drama came into being at the beginning of the 20 th century when the emergence of new historical viewpoints brought new thought and methods into the study. Wang Kuo wei's Sung Yuan Hsi Chu Kao made a systematic study of the history of Chinese drama with a focus on the drama of Sung and Yuan drnasties under the same theoretical framework. It not only indicates the formation of the historical study of Chinese classical drama, but also initiates a new era of the study.

20世纪初期 ,随着新史学观的崛起 ,古典戏曲研究获得了新的眼光、新的思路和新的写作方式。戏曲史学应运而生。戏曲起源研究、戏曲的兴衰变化及其原因得到深入的探讨。王国维的《宋元戏曲史》在一个理论框架下 ,系统梳理宋元戏曲乃至中国戏曲的发展历史 ,标志着近代意义的戏曲史学的形成 ,并由此把古典戏曲研究带上了一个新的起点

Taking Wang Guowei's theory of "opera performing history" to be one of the criteria,considering several viewpoints on the origin of Chinese classical drama,this paper holds that the formation of Chinese classical drama is a multi ─ orientional paradigm process from the outer shapes of performance to the marrative representative core. According to such a basic viewpoint, the Ta─yao─ niang can be regarded as a symbol of the formation of Chinese classical drama. Furthermore, the Ta ─ yao ─ niang's...

Taking Wang Guowei's theory of "opera performing history" to be one of the criteria,considering several viewpoints on the origin of Chinese classical drama,this paper holds that the formation of Chinese classical drama is a multi ─ orientional paradigm process from the outer shapes of performance to the marrative representative core. According to such a basic viewpoint, the Ta─yao─ niang can be regarded as a symbol of the formation of Chinese classical drama. Furthermore, the Ta ─ yao ─ niang's embarrassed suspense in the drama history threw it away from developing into the latter drama form ; but this can't deny its historical positon and significance.

本文以王国维“以歌舞演故事”为评判标准,观照中国戏剧 史上几种关于戏剧起源的说法,认为其形成是基于歌舞、表演的外在形 式向代言体叙事本位靠拢之上的多元聚合过程,据此,把“踏摇娘”作为 中国古典戏剧最初形成的标志,并进而认为,“踏摇娘”在戏剧史上尴尬 的悬置状态使它没能发展成为后世成熟的戏剧形式。但这一点并不能 否定“踏摇娘”在中国古典戏剧史上的地位和意义。

 
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