查询词典 Peking Opera

Through a section that sounds like the Peking-opera fiddle, the violin suddenly uses glissando fingering to slide down the "G" string, covering an octave interval, seeming to imitate the creaky sound of the dahualian（"painted-face character"） of Peking opera, while also replying to the clown-like glissando at the start of the piece.

经过一个如同是京胡演奏的片段，小提琴突然在 G 弦上大力度地演奏出大七度的滑音，如同在模仿京剧里的"铜锤花脸"的苍老声音，也似乎是对一开头的"小丑"式滑音部分的回应。

It is necessary to see Peking Opera while you are in China, just as seeing an opera while in Italy.

当你在中国的时候，北京歌剧是必需的，正如当做在意大利的时候一出歌剧。

Peking Opera is regarded as the national opera of China.

京剧被认为是中国的国剧。

Gathering of various theatric characters, excellent singing of Peking Opera masters, amazing posture and action as well as the artistic essence of Peking Opera will be fully appreciated in this production.

生旦净丑齐聚舞台，梨园精英荟萃争锋。名家们珠圆玉润的演唱、出手不凡的身段技法都将挑战视听，尽展国粹风华。

The words "Pai-Chang"or "Pai5 Tiunn5" have many meanings But when used in traditional opera or music and explained as a kind of formal musical performance they are only applied in Taiwanese Peguan and Nanguan cultural circle particularly in Peguan circle There are two kinds of characters of "Pai-Chang" in terms of the function of the performance namely artistry and folk custom In Tainian city "Pai-Chang" which refers to the formal vocal performance without makeup and acting; nevertheless is used by the amateur actors' organizations of Peking opera as well Such a phenomenon raises two questions: first of all Although Peking the origin of Peking opera has vocal performance of Peking opera "Pai-Chang" is never used either artistry or folklore therefore how does this jargon hand down to the Peking opera circle in Tainan city ?

「排场」(pai5 tiunn5或ㄆㄞˊㄔㄤˇ)一词，用於戏曲音乐方面，做音乐的正式演出型态解释者，为台湾南北管文化圈所特有，其中又以北管最常使用。其以表演目的或弁郧荌粥洃嚏A可分为艺术性与民俗性两种。然而，在台南市及其周边的京剧文化圈内，亦使用有「排场」(pai5 tiunn5或ㄆㄞˊㄔㄤˇ)此一语汇，也指京剧的「正式清唱演出」。本研究动机基於对目前仅见於台南市及其周边之民俗性京调排场的两点疑惑：其一，按京剧的形成地－－北京，虽亦有京剧的清唱演出，然不论为艺术性或民俗性，北京人都不称为「排场」，那麼台南市京剧圈的排场语汇是如何得来的呢？代表了何种意义？

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。

In the tune "the old city" represents Beijing, the music take the Peking opera as the source material, will divide the slow movement and the musical beat two parts, the slow movement sub-system will be persuasive the exquisite Peking opera melody to further process, causes it music, has displayed the urheen timbre delightful gentle performance special skill, will listen both to express feelings, the Beijing style to be full exquisitely, and will not lose the sonorous powerful place, music mood fluctuation repeat swings, the change will be careful, musical beat partial melodies sprightly smooth, by the urheen continuously the fast figure and the clear bright timbre, will entrust with this section of musics fresh and the active characteristic, but long will draw out a syllable appearance, also will then cause it alone lyricism, this music from differentThe angle expresses thinks of the ancient exquisite feeling, takes to the people infinite province to think with recalls.

曲中&古城&意指北京城，乐曲以京剧为素材，分慢板与流水板两部分，慢板部分系将婉转优美的京剧唱腔进一步加工，使之更加音乐化，发挥了二胡音色甜美柔和的演奏特长，听来既抒情优美、京味十足，又不失铿锵有力之处，音乐情绪起伏迭荡，变化细致，流水板部分旋律明快流畅，以二胡的连续快速音型和清脆明亮的音色，赋予本段音乐清新而活跃的特色，而长拖腔的出现，则又使之独具抒情性，本乐曲从不同角度抒发思古幽情，带给人们无限的省思与回忆。

The Fourth Son Visits His Mother' is a well-known traditional Peking opera that has been performed for a century in different artistic and vocal styles developed by Peking Opera maestros.

京剧《四郎探母》是一出脍炙人口、百多年来久演不衰的优秀传统戏，经过许多京剧名家的加工和锤炼，现已形成不同的艺术风格和唱腔流派。

This quote from Leslie Cheung's Peking opera epic "Farewell, My Concubine" applies to Huangmei opera artist Han Zaifeng, a woman who thinks about Huangmei opera every minute, rediscovers its charm every time she reprises a role and promotes it to everyone she meets.

一个无时不刻不在为黄梅戏而思考的女人，每次塑造一个新的角色，她都会再次发现黄梅戏的魅力并极力向她遇到的人宣传黄梅戏。

Through a section that sounds like the Peking-opera fiddle, the violin suddenly uses glissando fingering to slide down the "G" string, covering an octave interval, seeming to imitate the creaky sound of the dahualian（"painted-face character"） of Peking opera, while also replying to the clown-like glissando at the start of the piece.

经过一个如同是京胡演奏的片段，小提琴突然在 G 弦上大力度地演奏出大七度的滑音，如同在模仿京剧里的&铜锤花脸&的苍老声音，也似乎是对一开头的&小丑&式滑音部分的回应。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。