查询词典 Brecht

The achievements focused on the form of the dramas under the guide of Brecht 's theory of "epos drama".

探索剧革新的实绩主要体现在话剧形式上，尤其是在布莱希特的"史诗剧"理论指引下，探索剧突出地显示了对传统戏剧叙事模式的突破。

If a piece of text is already printed in italics, then the function of italicization is taken by roman type : She was reading On the Use of Verfremdungseffekt in Brecht's Plays .

如果一篇正文已经采用斜体印出，那么，斜体的功能如同罗马体的功能，如：她正在阅读"论布莱希特戏剧中'离间效果'的运用"。

If a piece of text is already printed in italics, then the function of italicization is taken by roman type: she was reading on the use of verfremdungseffekt in brecht's plays.

如果一篇正文已经采用斜体印出，那么斜体的功能就由罗马体来取代(如她正在阅读"论布莱希特戏剧中'间离效果'的运用")。

The thesis will make a try to reveal the truth lied in the mechanism on an objective and general basis. The first step is to clarify what it is, then secondly 1 would like to make a contrast between Stanislavsiky, Meyerhold and Brecht with a view to deepen our understanding.

为了真实认识这个在过去及现在都仍具有着深刻影响力的演剧体系，本文力求在较为全面客观研究原著的基础上，首先弄清该体系到底是什么，进而再将斯坦尼斯拉夫斯基与梅耶荷德和布莱希特作一个比较，在横向比较中，对该体系再加以深入的认识。

There are also some common parts between them. Divided by similitude, Stanislavsiky produced prose poem, Meyerhold produced lyric poem and Brecht produced narrative philosophical poem.

用句比喻来形象地区分他们，即：斯坦尼斯拉夫斯基追求的是散文诗，梅耶荷德想往的是抒情诗，布莱希特要求的是叙事哲理诗。

Stanislavsiky hold a lot of differences on drama esthetics and production style with Meyerhold and Brecht. Mainly the difference shows to be: the former is of the school of"reappearing esthetics"while the latter is of"expressive esthetics".

斯坦尼斯拉夫斯基与梅耶荷德和布莱希特，在戏剧美学思想和创作方法上都存有很大区别，这主要表现为，前者属于"再现美学"，而后两者属于"表现美学"，但他们之间也有很多相同相通之处。

The result of this essay attempts to use Nietzschean theory—"Apollo" and "Dionysus"—in which both interact and mingle each other on the stage to explain how Brecht balanced "Epic" and "Theatre" that allows spectators to attain better entertainment than Aristotelian, and they learn the useful knowledge for society from theatre.

研究结果拟以尼采的阿波罗与戴欧尼色斯二元性相互交融於舞台上，来解释布雷希特的史诗剧作，让观众不仅获得比亚里斯多德剧场还高的戏剧娱乐，也学习有用的社会知识。

Dramatic theories from Piscator, Brecht to Boal covers the essential claim of ideological and aesthetic appeals of western theatre of the left.

从皮斯卡托、布莱希特到博亚尔的戏剧理论大体上涵盖了20世纪西方左翼戏剧在政治意识形态和戏剧美学两方面的根本诉求。

Explanation of Piscator's"political theatre"and theory of Brecht's"epic theatre"become the guideline of theatre of the left in 20th century West. Boal's"poetics of the oppressed"represents the most important achievement of theatre of the left in the second half of the 20th century.

皮斯卡托关于"政治剧"的阐述、布莱希特著名的"史诗剧"理论对于整个20世纪西方左翼戏剧来讲可以说是纲领性的；而博亚尔的"被压迫者诗学"则代表了20世纪后半期左翼戏剧理论的最高成就。

The Poetics of the Oppressed,established by the celebrated Brazilian left-wing theoretician Augusto Boal,is built on the tradition of Piscator,Brecht and other left-wing theatrical artists.

著名的巴西左翼戏剧理论家奥古斯多·博亚尔创立的"被压迫者诗学"继承了自皮斯卡托、布莱希特以来西方左翼戏剧理论传统，在意识形态上接受了西方"新左派"的影响，在戏剧美学上融合了后现代理念。

The basic concept of FOP can be summarized as to further optimize effective prescription according to the standard of curative effects and with the aid of modern science and technology and theories of traditional Chinese medicine.

其基本内涵可概括为：以确有疗效的中药复方为研究对象，以现代科学技术和传统中医药理论为技术支持，以该复方所治病证的药效响应为评价标准，以优化重组疗效更优的新复方为研究目的。

Ever since our world has been a world, native forests have been indiscriminately exploited by man.

自从我们的世界一直是世界原生森林被任意剥削人。