查询词典 acrobatic fighting in Chinese opera or dance

CCTV Entertainment Channel has a fantastic range of entertainment programs including TV dramas, music, Chinese opera, Chinese acrobatic, galas and much more.

中央电视台娱乐频道有各种出色的娱乐节目，包括电视剧，音乐，中国戏曲，中国杂技，首映礼及更多内容。

Divertissement: Spanish Dance; Arabian Dance; Chinese Dance; Russian Dance; Toy Trumpets...

1：第二幕：怡情曲：西班牙舞；阿拉伯舞；中国舞；俄罗斯舞；玩具喇叭

Mr. Ying Yuandao ever summarized the discussions on the Christianity Localization Movement in China in the 1920s, and held that the so-called localized Christian churches should have the following characteristics:"First, churches of the Chinese; Second, set up according to the experiences of the Chinese Christians; Third, with rich quality of Chinese culture; Fourth, combine Christianity and Chinese culture into a whole; Fifth, suits the spirits and psychology of the Chinese People; Sixth, enables the religious life and experience of the Chinese Christians to be adapted to Chinese customs"1. In the 1960s, Japanese scholar Sumiko Yamamoto made more detailed summarization for the definition of the Localization Movement of the Churches in China in her article "The Independent Movement of Christianity in China in the 1920s":"First, churches are formed of Chinese; Second, churches are independent in administration and operation; Third, churches have independence in the economic aspect; Fourth, churches are adapted to the Chinese in the aspects of church building, divine music, divine painting and liturgy etc. Fifth, accommodate the sacrificial fete and customs of the Chinese and Christianize them; Sixth, churches must be involved in the practical issues in the State and the society of China; Seventh, churches must get rid the tradition and colors of the European and American churches; Eighth, churches must be able to control themselves, sustain themselves and spread by themselves."

应元道先生曾对20世纪20年代开展的中国基督教本色运动的讨论加以概括，认为所谓本色的基督教会应有以下几个特点："一是中华国民的教会；二是根据中国基督教徒自己的经验而设立的；三是富有中国文化的质素的；四是要把基督教与中国文化合而为一的；五是能适合中华民族的精神和心理的；六是能使中国基督徒的宗教生活和经验合乎中国风土的" [1]。60年代，日本学者山本澄子在其所著的《二十年代中国基督教的自立运动》一文中，对中国教会本色化运动的定义作了更详细的概括："一，以中国人为教会的构成；二，教会的行政与运作等方面的自立；三，教会在经济方面的自立；四，教会在教堂建筑、圣乐、圣画、礼拜仪式等方面的中国化；五，容纳中国人的祭祀与习俗，并与基督教化；六，教会要置身于中国国家与社会的现实问题之内；七，教会要除去欧美教会的传统与色彩；八，教会要能自治、自养、自传。"

Han Chinese, Tibetan Chinese, Manchu Chinese, Mongol Chinese, Mohe Chinese, Malgal Chinese, Menggu Chinese, Jurchen Chinese, Kitan Chinese and Ugur Chinese.

有人回复：有56个，我知道一些，其余的你要自己去查：汉，藏。

Mr. Ying Yuandao ever summarized the discussions on the Christianity Localization Movement in China in the 1920s, and held that the so-called localized Christian churches should have the following characteristics:"First, churches of the Chinese; Second, set up according to the experiences of the Chinese Christians; Third, with rich quality of Chinese culture; Fourth, combine Christianity and Chinese culture into a whole; Fifth, suits the spirits and psychology of the Chinese People; Sixth, enables the religious life and experience of the Chinese Christians to be adapted to Chinese customs"1. In the 1960s, Japanese scholar Sumiko Yamamoto made more detailed summarization for the definition of the Localization Movement of the Churches in China in her article "The Independent Movement of Christianity in China in the 1920s":"First, churches are formed of Chinese; Second, churches are independent in administration and operation; Third, churches have independence in the economic aspect; Fourth, churches are adapted to the Chinese in the aspects of church building, divine music, divine painting and liturgy etc. Fifth, accommodate the sacrificial fete and customs of the Chinese and Christianize them; Sixth, churches must be involved in the practical issues in the State and the society of China; Seventh, churches must get rid the tradition and colors of the European and American churches; Eighth, churches must be able to control themselves, sustain themselves and spread by themselves."

应元道先生曾对20世纪20年代开展的中国基督教本色运动的讨论加以概括，认为所谓本色的基督教会应有以下几个特点：&一是中华国民的教会；二是根据中国基督教徒自己的经验而设立的；三是富有中国文化的质素的；四是要把基督教与中国文化合而为一的；五是能适合中华民族的精神和心理的；六是能使中国基督徒的宗教生活和经验合乎中国风土的& [1]。60年代，日本学者山本澄子在其所著的《二十年代中国基督教的自立运动》一文中，对中国教会本色化运动的定义作了更详细的概括：&一，以中国人为教会的构成；二，教会的行政与运作等方面的自立；三，教会在经济方面的自立；四，教会在教堂建筑、圣乐、圣画、礼拜仪式等方面的中国化；五，容纳中国人的祭祀与习俗，并与基督教化；六，教会要置身于中国国家与社会的现实问题之内；七，教会要除去欧美教会的传统与色彩；八，教会要能自治、自养、自传。&

The transition in Chinese religious rites, popular culture that repulses and restricts Chinese opera have caused Chinese opera to be in survival crisis and fade out of the Chinese society.

在马来西亚的现代化进程中，把握机遇以拓展华语戏曲艺术的生存空间，以文化自救的方式实现华人文化权的诉求，这是至关重要的。

The transition in Chinese religious rites, popular culture that repulses and restricts Chinese opera have caused Chinese opera to be in survival crisis and fade out of the Chinese society.

华族宗教仪式的变迁，主流文化对华语戏曲的排斥与禁限，使得华语戏曲不断遭受&生存&的诘难，逐渐淡出华人社会。

After pointing out the connotations of the two theories, the author puts a stress on clarifying their gains and losses. The author thinks that,""Drama-Poetry Theory"" enlightened some playwrights' drama-creating, but it didn't intactly reveal the ousia of opera;"" Yue-Ousia Theory""explored the question of Opera origin , but it still didn't work out the ousia structure of Chinese traditional opera.

在阐明这两种学说各自的内涵之后，着重辨析了它们各自的得失，指出：&剧诗说&虽能在一定程度上指导戏曲创作实践，并启示了一种对于戏曲艺术的诗性领悟方式，但并未完整地揭示出戏曲艺术本体，也没有准确地把握到戏曲艺术精神；&乐本体说&虽然深入地探讨了戏曲本源问题，揭示了戏曲艺术的精神命脉和审美定性，但由于未能贯彻历史的、发展的、辩证的观点，仍未能准确完整地把握到戏曲的本体结构。

ChapterⅠintroduces the intention, significance and methods of the research from the angle of Chinese historical phonetics. Following the course of re-examining materials, ChapterⅡsurveys the pattern of rhyme, excerpting the metrical feet, ChapterⅢconnects the rhyme categories, the rhyme of different systems contacting with each other, and literary reading and colloquial reading. ChapterⅣcompares the rhyme cateories of traditional Hua-gu opera in Changsha with traditional rhyme tablesd, as well as those of traditional Hua-gu opera in Shaoyang. The total study is conducted to become united with dialect. ChapterⅤcontains the surplus discussion with three theories: the rhyming quality, the connection between rhyme categories and oral speech, between those of literary readings in traditional Hua-gu opera.

本文正文分为五章：第一章从音韵学角度，讨论了花鼓戏用韵研究的背景、意义以及研究方法；接着谨遵韵脚字系联法的步骤，第二章侧重材料分析，包括甄别材料、审度韵例、摘录韵字，第三章侧重韵部系统，包括归纳韵部、异部相押以及文白异读的情况；第四章对传统剧目的韵部系统进行了纵横(与邵阳传统花鼓戏韵部系统的比较)两条线的考察，结合方言是纵横考察过程中的重要环节；第五章是余论部分，主要讨论了三个理论性问题：长沙传统花鼓戏押韵的性质、韵部与实际语音的关系以及与长沙读书音的关系。

From the third rural cultural festival, the Yiwu inZhejiang Province Department of Culture, Nanjing, Song and DanceTroupe and other units to co-organize the province of professionalWucheng Theater "annual Red Cup" Grand Prix, Zhejiang class vocalgroup singing competition, Zhejiang Province, the new Rural amateurWu Opera Competition,"on the River Cup" Wu Opera MusicCompetition,"after the house cup" of the 12th opera essay contest,and the second session of the Zhejiang Province,"the house cup"comedian competition, the North four painters painting exhibition,Zhejiang Prints 15 Year Review of the exhibition,"into the Yiwu"Chinese Artists Association, Center for Traditional ChinesePainting Exhibition of high-specification artist cultural exchangeactivities, greatly enhanced the level of Yiwu Cultural Festival inrural areas and standards.

从第三届农村文化节起，义乌与浙江省文化厅、南京歌舞团等单位合作，举办了浙江省专业婺剧团&年年红杯&大奖赛、浙江省组唱类声乐大赛、浙江省新农村业余婺剧比赛、&上溪杯&婺剧音乐比赛、&后宅杯&第12届曲艺小品大赛、第二届浙江省&后宅杯&笑星大赛、北方四画家国画作品展、浙江省版画15年回眸展览、&走进义乌&中国美术家协会中国画创作中心画家作品展等高规格的文化交流活动，大大提升了义乌农村文化节的层次和水平。

The use of the web to spread fears that flicking the switch on the LHC could create a Black Hole that could swallow up the Earth particularly concerned him, he said.

他说，使用互联网散布恐慌说启动LHC会生成一个可能吞噬地球的黑洞的做法让他感到忧虑。

Not a single word have I written down.

我一个字也没有写下来。