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新歌剧
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  modern opera
     Feminism in Chinese Modern Opera
     中国新歌剧中的女性意识
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     This chapter mainly explains the development condition of Chinese opera in 12 years, from to 1957"The new opera colloquium".
     第三 中国歌剧的全面发展,本章节主要论述了中国歌剧自1957年“新歌剧讨论会”召开后到50年代末60年代中期,开始呈现出前所未有的繁荣兴盛局面。
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     With the influence of western opera, and on the basis of a comprehensive study of our traditional national opera, rap music and folk songs at the beginning of 20th century, we have finally formed our own new national opera at the eve of the foundation of People's Republic of China.
     受西方歌剧的影响,我国于二十世纪初,在民族戏曲、说唱音乐、民歌的基础上经过多方探索,终于在建国前形成了自己的民族新歌剧
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     Two different artistic styles have gradually been formed with the development of new opera, and obvious imbalance occurred between them as the progress of age.
     此后在新歌剧发展过程中逐渐呈现出两条不同艺术风格的道路,并且随着时代的发展产生明显的不均衡性。
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     Chapter Three: Based on the detailed analysis of the culture before 1980s andthe culture after 1980s, the chapter studies the development of China's new opera in these two ways, and discusses the influences of the pluralistic concept of culture on the pluralistic development of opera.
     第三章:通过八十年代以前和八十年代以后的具体文化分析,研究探析中国新歌剧在两条道路上的发展情况,以及文化多元对歌剧多元化发展的影响。
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     A large number of new operas, new folk songs successively in the fifties and sixties of corresponding period were created and compiled and performed, it opens a situation of "lets a hundred flowers blossom, lets a hundred schools contend" in the national vocal music.
     同时期五、六十年代又陆续创作和编演了大量新歌剧、新民歌,开创了民族声乐“百花齐放、百家争鸣”的局面,涌现了以郭兰英、王昆等人为代表的一代民族歌唱家。
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     Feminism in Chinese Modern Opera
     中国歌剧中的女性意识
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     Women and Opera in the New Period
     当代女性与时期歌剧(英文)
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     NEW WORKS
     著作
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     NEW GAMES
     游戏
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     About Opera
     泡歌剧
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Opera is theatre of music,in which theatre is illustrated by music. Its particular feature lies in the fact that music is the subject of opera. In other words,opera is an integral complex with the highest comprehensiveness.the richest layers of structure and the strongest stage im-pressiveness among all art forms in musical theatre. So the key for writing a good opera is how to comprehend and practice the 'dramatics of music', or how to combine music and theatre in a subtle way.

歌剧是音乐的戏剧,用音乐演绎戏剧的戏剧;它的特性正在于音乐是歌剧的本体。或者说,歌剧就是音乐戏剧艺术样式中各门艺术的综合程度最高、层次最丰富、舞台感召力最强的这样一个完整体。由此也感到写好一部歌剧的症结在于怎样理解和实践“音乐的戏剧性”上,也就是怎样巧妙地把音乐和戏剧结合好。 一个写得好的剧本,如果作曲家对它缺乏“悟性”,而又不加以改造地照搬过来,歌剧音乐是写不好的。成功的作品必定是音乐好的作品。必须足够重视作曲家在歌剧创作中的重要性。我国民族歌剧要得到发展,这个问题恐怕应当研究解决,让作曲家的地位突出于首位或中心是必要的。 为了探索和实践新的歌剧艺术运行机制,还需要从三个方面进行努力。一是人才问题。对于歌剧来说,人才问题上一有一个培养出来的声乐尖子人对不能直接为我国歌剧表演事业有效服务的问题。菩乐院校不能只偏重纯声乐方面的教学,而不重视歌剧表演方面的培训。二是基金体制问题。将来政府对于艺术表演事业的责任和管理应转向宏观的指导和调控。确立科学的基金机制,就是用以进行微观调控的重要手段之一。三是歌剧到底属于补贴事业还是最终应当归入文化产业统一体系,使它经过一定阶段的过渡之后渐入佳境,成为产业化事业。

In more than 60 years of his career as an artist, He Jingzhi created a large number of new opera ( including Yangko opera), new poetry, “new ancient poetry” and songs. In this series of poetic practice (in the broad sense of the word), He Jingzhi gradually perfected his own poetic quality whose basic features are as follows: (1) laying emphasis on the synthesis of history, emotion and intellect with a comparatively greater focus on “history” in new operas, “emotion” in short political lyrics and “new ancient...

In more than 60 years of his career as an artist, He Jingzhi created a large number of new opera ( including Yangko opera), new poetry, “new ancient poetry” and songs. In this series of poetic practice (in the broad sense of the word), He Jingzhi gradually perfected his own poetic quality whose basic features are as follows: (1) laying emphasis on the synthesis of history, emotion and intellect with a comparatively greater focus on “history” in new operas, “emotion” in short political lyrics and “new ancient poetry”, and intellect in long political lyrics; (2) making efforts in constructing and synthesizing types, artistic conceptions and symbols with a comparatively greater focus on “types” in new operas, “artistic conceptions” in short political lyrics and “new ancient poetry”, and “symbols” in long political lyrics; and (3) making experiments on various styles, including dramatic style, free style, folk-song style, “step style,” and “new ancient style” in the effort of reaching the goal of synthesizing styles from past and present and home and abroad.

在六十余年的文艺生涯中,贺敬之创作了大量的新歌剧(包括秧歌剧)、新诗、“新古体诗词”、歌词。在这一系列的诗学(广义上)实践中,贺敬之逐步形成并完善着自己的诗学品格。其基本特征有:一、注重对史、情、理三种诗学本质的融合。但相对来说,新歌剧重“史”,政治抒情短诗(包括歌词)和“新古体诗词”重“情”,长篇政治抒情诗重“理”。二、致力于典型、意境、象征三种诗学境界的建构和融合。但比较而言,新歌剧钟情于“典型”,政治抒情短诗(包括歌词)和“新古体诗词”偏爱“意境”,长篇政治抒情诗侧重“象征”。三、不断尝试多种诗体,如诗剧体、自由体、民歌体、楼梯体、“新古体”等,努力实现诗体的古与今、中与外的多元融合。

Since 90s of the last century, the development of American original operas has entered a new prosperous period. The numbers of new creating operas and their performances have dramatically increased. The pluralistic stories and brilliant music of these operas have attracted innumerable audience.The flourishing environment and market of creating and innovating new original American operas have been established,thus promoting the opera culture prosperity.

从上世纪九十年代起,美国歌剧的发展出现了繁荣的新局面,新创作歌剧上演的数量也在增加。改革创新、营造良好的歌剧发展氛围,积极培育新歌剧的创作和演出市场,创作题材多元化、音乐风格个性化提升了歌剧的吸引力等成为美国新时期原创歌剧繁荣的重要原因。

 
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