查询词典 Beijing Opera

Full Band Festival, Macao Solo at Sugar Jar, Beijing Germany Night, Beijing Tie Guan Yin at UMWEG BER CHINA Festival, Berlin Qianhai Kwanyin, Beijing Waterland Kwanyin, Beijing More Less More project, Beijing Solo at Mini Midi 2007, Beijing Bu Yi Yang post Shanghai, Shanghai 2006 Bu Yi Yang Shangbu Nanshan,Shenzhen 12th Kolkata Film Festival, Kolkata Borderline International Film Art Exhibition, Beijing The Third China Independent Film Festival, Nanjing Moscow Biennale, Moscow The Voice Of The Other Shore, Beijing Midi Music Festival, Beijing Dashanzi International Art Festival, Beijing Art Beijing, Beijing Waterland Guanyin Series, Beijing Qianhai Guanyin Series, Beijing 2005 Holland Chinese Festival, Amsterdam Most Electronics, Xiamen Waterland Guanyin Series, Beijing Midi Music Festival, Beijing Dashanzi International Art Festival, Beijing Don't Break My Core, Shanghai 2004 Nuit Blanche Festival (With fm3 and Yan Jun) Paris 1000 Revolutions Per Second, Brussels Shanghai Biennale, Shanghai 2pi Music Festival, Hangzhou Dashanzi International Art Festival, Beijing OUT THE WINDOW (China, Japan, and South Korea multimedia art unites exhibition) Tokyo, Seoul, Beijing Discography: Support the umbrella to stand in dust that float float CD 2006 Kwanyin Records The Microwave DVD 2006 Kwanyin Records Tie Guanyin Duo-viva la vaches, wuquan + yan jun CD 2006 Kwanyin Records Tie Guanyin Duo-Live at 798Cubic Art Center, wuquan + yan jun CD 2006 Kwanyin Records View DVD 2005 Kwanyin Records http://www.myspace.com/wuquan http://www.neocha.com/wuquan ———————————————————————————— Xiao He Third son of Tian Qiaoyun and He Pingsuo.

主要艺术活动： 2007 参与不一定乐队乐巡演上海、芜湖、杭州、义乌、珠海、深圳、广州"不一定·愚公移山"北京"不一定·798"北京"武王文窦·澳门国际马拉松国际摇滚音乐节"澳门"白糖罐·声场"北京"德国之夜"北京"迂回中国"柏林"前海观音"北京"水陆观音"北京"马恩列斯毛"系列演出北京"第八届迷笛音乐节"北京"不一样·后上海"上海 2006 "不一样·上步南山"深圳"第12届加尔格达电影节"加尔格达"边界线国际影像艺术展"北京"第三届中国独立影像年展"北京"莫斯科双年展"莫斯科"彼岸之声"北京"第七届迷笛音乐节"北京"第三届大山子国际艺术节" 798艺术工厂北京"艺术北京2006"北京"水陆观音"北京"前海观音"北京 2005 策划/组织电影短片集《色！》"荷兰中国文化节，实验中国"阿姆斯特丹"最电子"厦门"水陆观音"北京"第六届迷笛音乐节"北京"第二届大山子国际艺术节" 798艺术工厂北京"don't break my core"上海"湿森林实验电子现场"长沙"workshop"大理 2003-2004 "Nuit Blanche"艺术节（与fm3、颜峻）巴黎"1000 revolutions per second"布鲁塞尔"第五届上海双年展"上海 2004 "第二层皮音乐节"杭州"第一届大山子国际艺术节"798艺术工厂北京《十夜谈》（与颜峻、fm3、王凡）北京"OUT THE WINDOW"（中、日、韩多媒体艺术联展）东京、汉城、北京 2003 《三国·四记》上海《水煮黄昏》（与fm3、颜峻）北京《不可能》（与颜峻、fm3）北京 2002 "丽江雪山音乐节"（与窦唯、fm3）丽江"点亮长城音乐节"北京发表作品：《打着伞在浮沉中站立》 CD 2006 观音唱片《微波》DVD 2006 观音唱片《铁观音二重奏-杀不死的牛》CD 2006 观音唱片《铁观音二重奏-立方艺术中心现场》CD 2006 观音唱片《观》DVD 2005 观音唱片

This paper therefore examines the development of "the folklore Pai-Chang of Peking opera aria in Tainan city" through literature review depth-interview oral history and participant observation The concept frame is culture organism as the vertical axle and elements of a folklore activity as the transverse axle There are several significant findings about the general picture of this subject: During the late period of Japanese colonial era Tainan local people who played Peguan music learned Peking opera aria and tried to bring Peking opera aria into the folklore Pai-Chang which was one kind performance and traditional custom of Peguan music Some people who came from other places and played Peking opera aria had also known or learned "Pai-Chang" with touching Tainan local amateurs "Pai-Chang" used to be performed by amateurs for worship of god or goddess or for seasoning and wedding celebration without rewards Amateurs volunteered to perform "Pai-Chang" only for their duty temples and fraternity of Peking opera aria The majority of the audience is people who perform or like "Pai-Chang" or who live nearby There is a fixed pattern of the performance including the repertoire and the arrangement of the band The main meaning of this performace is to pray God's blessings therefore the procedure of "Ban-Hsian" is the most essential and ahead of Peking opera aria singing With time goes by the number of the amateurs has dropped; yet the demand for the worship ceremony remains; hence some of the amateurs have been trained to become professional performers Besides although the idea and the meaning of "Pai-Chang" remains the pattern of the performance has become simplified and rigid which is because of the performers' number decreasing and market adapting Nowadays the whole ecosystem of the folklore Pai-Chang of Peking opera aria in Tainan city keep changing which is mainly influenced by the transition of the society(such as the time and space of the industrial and commercial society being compressed and most people's pursuing of specialization and utilitarianism etc ) According to the findings in this paper the phenomenon can be regarded as the subject matter both of Peking opera and folklore studies For the studies of the Taiwanese culture however the subject not only enriches the subject matters of the Taiwanese culture(signifies the localization of Peking opera and a new pattern of Taiwanese folklore) but also reflects the characters of diversification integration adaptation and compromise of Taiwanese culture which used to be influenced by different regimes and the historical contexts Facing such a multicultural context this paper thus suggests researchers should show an open-minded attitude toward the complex of the Taiwanese culture studies and then important phenomenon would not be ignored or misunderstood

代表了什麼意义？对於上述疑惑，查既有研究成果，不消没有论述者，具体提即「京调排场」现象的可说没有，基於此，有必要对台南市及其周边之民俗性京调排场，不管是语汇来由或者其现象本身，做一番研究。本研究透过文献、访谈、口述史、参与观察等方法，以文化有机体之纵的发展概念为经，以民俗表演之横切面各主客要素为纬，试图先对此文化现象调查并推论出一概貌：台南市民俗性京调排场的形成，是在京调传入台南，台南本地北管子弟改习或兼习京调后，结合北管音乐文化所固有的排场表演型态及民俗演出传统，融合而成，形成时间至迟在日治晚期。而一些不同时期的外来京调人士(如原本生长於其他地区、后移住台湾的票友，和中国大陆琴师等等)，也曾透过与当地子弟的接触，而习得或知晓「排场」语汇以及本地京调排场习俗者。此项音乐民俗表演在过往多由业余子弟於神诞或民众婚俗做寿时，对其有义务或交陪的庙宇及子弟间做酬酢性的演出，不收报酬；聆赏者多是京调同好与邻近民众，也有少数路过者；演出模式包括节目安排、乐队编制皆有一定；表演意涵上以「扮仙」祈求神明赐福人间最为重要，因此排仙必不可少，且一定先於京调演唱。随著时间推移，京调排场表演活动的各要素都有变动，惟变迁速度不一，大体而言，业余表演者锐减，人们对酬神娱神节目的需求仍在，因此一些过往的业余表演者遂逐渐转型为职业表演者。此外，虽然表演意涵不变，但在职业表演人员少、又要适应市场的情况下，表演模式亦逐渐流於简化、僵化。目前京调排场整体生态仍在转变的过程中，而这种变化应与工商社会时间空间的被压缩、事事追求专业化与尼Q化等因素有关。再者，据此概貌，在结论部分厘清其意义、定位以及其对台湾文化研究之启示。台南市及其周边之民俗性京调排场现象，可视为京剧研究与民俗研究的一环，然而对於台湾文化研究，除了其题材本身标志了京剧的本土化与台湾民俗活动之新类型，进一步扩充整体台湾文化研究的内容外，更重要的是现象背后所反映的台湾文化的多元融合与妥协适应取向。台湾的海岛地理位置与长期被不同文化背景政权所殖民的历史，其文化自然容易随社会环境改变而弹性适应变迁，呈现多元纷呈、多重覆叠的特色，因此展望未来，从事台湾文化研究应秉除单一观点，保持一定程度之开放与客观胸襟，方不忽视或误识更多重要的文化现象。

More recently we've worked with professional Chinese opera artists in productions like Yue opera Hedda Gabler and Beijing opera Miss Julie , and are writing Yue opera Lady from the Sea , commissioned by Norway's Ibsen Theatre and Hangzhou Yue Opera Company. There seems to be another benefit resulting from this type of intercultural hybridism: to enrich the repertoire of traditional Chinese opera with more socially relevant stories, and with more psychologically complex characters.

近年来我们跟国内戏曲艺术家们搞的越剧《心比天高》、京剧《朱丽小姐》和正在为挪威易卜生剧院和杭州越剧院写的越剧《海上夫人》则让我们发现了这种嫁接的另一层意义：用更具现实社会意义的故事和更富有心理层次的新型角色来拓宽传统戏曲的视界。

Was born in Leipzig, the Leipzig University .1831 harmony and counterpoint .1833 Wurzburg, he became head of theater and opera chorus,"demons." In 1842 his opera "Leith Qi" in the performance a big success, this served as the command .1849 Dresden Royal Opera House, joined in May failed to escape the riots caused by Zurich refuge .1854 began brewing four years, in conjunction opera "Nibelung root Ring "and complete the opera" Tristan und Isolde,"the creation of .1860 years, returning in 1864 to be King Ludwig of Bavaria invited to Munich perform" Tristan und Isolde." In 1876 to build on thanks to the Opera .1877 Pruitt began work,"Parsifal," 182 years to complete because of illness drag .183 years, died of a heart attack in Venice.

生于莱比锡。1831年莱比锡大学学习和声与对位。1833年任维尔茨堡剧院合唱团团长并创作歌剧《妖魔》。1842年其歌剧《利思齐》演出大获成功，为此荣任德累斯顿皇家歌剧院指挥。1849年参加五月暴动失败逃致苏黎世避难。1854年起开始酝酿四联歌剧《尼伯龙根的指环》并完成歌剧《特里斯坦与伊索尔德》的创作。1860年回国，1864年应巴伐利亚国王路德维希之邀去慕尼黑演出《特里斯坦与伊索尔德》。1876年于拜鲁伊特筹建歌剧院。1877年开始创作《帕西法尔》，因病拖至182年完成。183年因心脏病逝世于威尼斯。

The drama art in Xinjiang, haw a long history, Each nation created its drama with unique artistic characteristics and styles based on its traditional culture. According to form and genre, the drama is divided into opera, dance drama and local drama. If distingue by national feature and region, I key are Uighur opera, Kazak opera, Sibo opera, melody opera and other local opera from the other pants of China.

新疆的戏剧艺术具有悠久的历史，各个民族在自己传统文化的基础上创造了独具艺术特色与风格的民族戏剧，按其艺术形式和体裁划分有歌剧、舞剧和地方戏曲，以民族特点和地域划分则有维吾尔剧、哈萨克剧、锡伯剧以及从我国内地传入新疆的曲子戏和其它地方戏曲。

The author considers that the form of the instrumental music structure came from special opera shape in Shangdang area and its act with five tune-patterns together in the same platform, it is also due to the Shangdang phonic criterion in Yongzheng government of Qing dynasty, which objectively shaped its system and scale, and meanwhile accelerate its growth and creativity. Shangdang instrumental music absorbed broadly t...更多he instrumental music on experience of Kun opera, Luo opera, Juan opera and Huang opera on basis of instrumental music on the local tune, which contains with diversity, and generally became of the art matrix of Shangdang folk music and opera melody.

本文认为：上党梆子器乐结构的形成，主要来自上党地区独特的戏曲生态和五种声腔同台共演的历史经验；特别是清代雍正年间国家政策对上党八音的规范，客观上引发了上党梆子器乐在体制和规模上的定型，也促进了上党梆子器乐在此基础上不断发展、创新；上党梆子器乐是在梆子腔器乐结构基础上，广泛吸收了昆腔、罗腔、卷腔、簧腔在器乐结构中的经验，由此兼容并包，逐渐成为集上党民间音乐和戏曲音乐大成的音乐艺术母体。

Under this slogan's direction, Hubei Province has done the much works regarding the promotion Huangmei Opera; Has established the Hubei Province Huangmei Opera theater; Invited the partial Huangmei Opera actor from Anhui Anking; Huanggang area's majority of Chu opera, the Chinese theatrical troupe changes the ripe plum opera company in abundance; Has established the Huang Gang skill school, trains the reserve talented person specially for the Huangmei Opera.

在这一口号的指引下，湖北省围绕振兴黄梅戏做了大量工作；成立了湖北省黄梅戏剧院；从安徽安庆聘请了部分黄梅戏演员；把黄冈地区的大部分楚剧、汉剧团纷纷改为黄梅戏剧团；成立了黄冈艺校，专门为黄梅戏培养后备人才。

City, the main stadium and some public enterprises and opening the stadium half-price: Workers Stadium, the stadium glory, Shichahai integrated Hall, Mu Xiyuan Tennis Center, Ditan Gymnasium, the Dongdan Sports Center, Sports Center on the altar, Guang'an Stadium, Chaoyang Sports Center, Haidian District Sports Center, Haidian District Stadium, Shijingshan Stadium, Shijingshan Stadium, Shougang Sports Center, Fengtai Sports Center Stadium in Tongzhou District, Daxing District Stadium, Changping District Sports Center, Shunyi District Sports Center, Huairou District Stadium , The Beijing Fengtai District Workers Club, Fangzhuang Sports Park, Old Bridge, Beijing property Xiaoyue Yuan's Sports Center, Beijing Yi Fang Sports Park City Health, Beijing-day gym brother Tony, Beijing Palace hot spring water in the world, Kang Hae-Beijing Aquatic Center Court, Beijing Kaiyuan city of entertainment and sports, fitness Sail park in Beijing, the Beijing-day River Hot Springs Sports Center, the Beijing Real Estate Development Co., Ltd.

市、区主要公共体育场馆及部分企业办体育场馆半价开放的有：工人体育馆、光彩体育馆、什刹海综合馆、木樨园网球中心、地坛体育馆、东单体育馆、月坛体育中心、广安体育馆、朝阳体育馆、海淀区体育馆、海淀区体育场、石景山体育场、石景山体育馆、首钢体育中心、丰台区体育中心、通州区体育场、大兴区体育场、昌平区体育中心、顺义区体育中心、怀柔区体育场、北京丰台区工人俱乐部、方庄体育公园、北京市古桥物业公司晓月苑康体中心、北京颐方园体育健康城、北京天贝兄健身房、北京南宫温泉水世界、北京康海苑游泳馆、北京开元康体娱乐城、北京市赛欧健身乐园、北京天水河温泉康体中心、北京怡海花园房地产开发有限公司健身俱乐部、北京浩沙健与美健身俱乐部第五分部、北京马莲道溜冰场，共33家。

There is a long-term customers are "Beijing Water Group","Beijing Water Museum","Beijing long-distance bus company,""Italian private Group Office""NINETOWNS Group Network Company""Xicheng District, Beijing Health Bureau""China Machine Association,"" Beijing Xicheng District Productivity Company "," Superior Refractories Ltd. Beijing "" Beijing China and the United States Special Decoration Materials Co., Ltd."" Beijing consulting firm Bihai Yun-Fan "" Beijing·management consulting firm ".....

现有长期客户是《北京自来水集团公司》《北京自来水博物馆》《北京长途客车集团公司》《意大利私密集团办事处》《九城集团网络公司》《北京市西城区卫生局》《中国机床协会》《北京西城区生产力促进公司》《北京利尔耐火材料有限公司》《北京华美特装饰材料有限公司》《北京碧海云帆咨询公司》《北京欧亚斯诺管理咨询公司》。。。。。

In my thesis, it outlines the background and process of the story, the style and feature of Merimee and the the script which abridged and developed contents and characters. The second aims at the musical analysis of the opera "Carmen" by Bizet, mainly according to the order of the opera and attaching the important music scores. The third is the character analysis of Carmen, the heroine of the opera, and Escamillo, the toreador which has been enriched and magnified by the author of the script. And the focus is the analysis, understanding and figure of the toreador which I have performed. In the last part of the thesis, it tells the scene of the opera and the relationship with the figures of the roles in the opera. And it also compares a variety of famous singers who has performed the toreador and puts on some of my points of view.

文中概述了小说产生的历史背景及经过、梅里美的风格特色及脚本对原作情节上、人物设置上的增删及发展等；其次为对出诸比才天才手笔的歌剧《卡门》音乐的分析，基本上按幕顺序论述并附重要的谱例；第三个重点是对剧中女主人公卡门及由脚本作者丰富、放大了的斗牛士埃斯卡米欧的人物性格分析，而把重点放在作者学习过的斗牛士形象的剖析、理解和塑造上；最后简要地阐述了歌剧场景与人物形象塑造的关系，前者对后者所可能产生的帮助，并对不同歌唱家所演绎的斗牛士形象作了比较和评价，提出了自己的看法。

Hanna: That's over now, isn't it?

都结束了，对吗

You must be ill. You look so pale.

你一定是病了，你的脸色苍白。