查询词典 have an audience with

The latter thought he had achieved prodigies of technique and ornamentation, only for Farinelli to surpass him so much that he "was at last silenced only by the acclamations of the audience"(to quote the music historian Charles Burney — this account cannot be verified one way or the other, since no surviving work which Farinelli is known to have performed at this time contains an aria for soprano with trumpet obbligato).

而后者认为他在吹奏技巧与装饰音上已达到天才的境界，只有Farinelli能远远压过他，最后吹奏者只能被听众的欢呼声嘘下来。（引用音乐史学家Charles Burney的话－这种说法其实无法以这种或其他方法证实。因为没有残存的作品可以证明Farinelli在此时的表演包含著以喇叭为高音的咏叹调伴奏。

In these artworks, illusive emotions with personal and interesting tones appear natural and casual. The selection of materials has become an attitude. Styles and forms have become the carrier of attitudes. Feelings and experiences are expressed without interpretation. It appropriates and uses, without any moral judge, any claim or any answer for any question. Willfully, subjectively and unfaithfully copying the world, art has an unprecedented lack of need to claim its rightfulness, or to force its audience to understand that the work is about. It even intentionally returns to a kind of naivety. The works seem to be excreted rather than constructed. These are all prominent features of postmodernist creations in a social situation that beholds neoliberalism as the mainstream ideology.

幻觉式的情感、富于个人性和趣味性的语调，不动生色地刻意雕琢却以最平淡随意的形式出现，对材料的选择作为一种态度，风格和形式也成为态度的载体，不需要被阐释只需要被感知、体验、欣赏和使用，不做任何道德判断，不发表任何声明，或对某个问题做出一个答案，肆意地、主观地、不忠实地去复制世界，艺术前所未有地不需要去证明自己的正当性，也不要求人们去探问艺术作品在说什么，甚至有意地回归到一种天真的状态，作品似乎是被分泌出来的，而不是被构造出来的，这些都是在以新自由主义为主流意识形态的社会形势中后现代主义作品的最显著的特点。

Throughout the exhibition hall is divided into four display,sophisticated paper-cutting to life, a wide variety of kite-makingsophisticated, large occupy an entire wall with a dragon-shapedkites, small enough to only use a magnifying glass to see if anail-like size of the kite, no let come to visit the Europeanaudience with amazement; Zhuiman silver and embroidery, lace anddelicate hand-Miao clothing, Meng Jiangnu prints out to show theway through the comics do not have some taste, even the walls isalso a big carved wooden window frames painted red paper-cut shape,so that the audience can feel more Chinese New Year's joy.

整个展览馆共分四层展出，精妙的剪纸栩栩如生、各式各样的风筝制作精良，大到有占据一整面墙的龙形风筝，小到只能用放大镜才能看清的如指甲般大小的风筝，无不让前来参观的欧洲观众啧啧称奇；缀满银饰和刺绣、花边的苗族服装手工及其细腻，孟姜女的版画通过连环画的方式展现出来别有一番味道，就连墙上的窗棂也是漆成大红色的剪纸造型，让观众更加能感受到中国新年的喜庆气氛。

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。

Since the gentleman subsists at ordinary times so difficult, have got the " notorious " intensity of hesitating, on the bottom without capability, resolve in desperation, give gentleman produce one assurance can improve trick of " audience rating ", make the gentleman " more notorious ", reap fabulous profits in improving " audience rating ": Utilize one weekend, take your friend and an third-class cameraman address of reaching your mother, use the brandy or gin, make your mother drunk, deceive to filled with the open ground of the sunshine of springtiming, there are lawns, also there are flowers, in the green and shady hillside courtyard, let her take off all all sweater and pants,It lie in, sit in, stand until every one is the American and wooden to connect with because there aren't chair, take a picture by naked mother portrait of Cafferty.

既然先生平时度日如此艰难，已到不惜&臭名昭著&的程度，在下不才，索性横下一条心，给先生出一个保证可以提高&收视率&的招数，让先生更加&臭名昭著&一番，在提高&收视率&中大捞一把：利用一个周末，带上你的朋友和一位三流摄像师到你母亲的住址，用白兰地或杜松子酒，把你的母亲灌醉，骗至洒满春日阳光的开阔地，既有草坪，又有鲜花、翠荫的山坡庭院中，让她脱光了所有衣裤，卧在、坐在、立在一张美式木质连椅上均可，照一张全裸的卡弗蒂之母肖像。

Imagine a number of men living in an underground cavernous chamber, with an entrance open to the light extending along the entire length of the cavern, in which they have been confined from their childhood, with their legs and necks so shackled that they are obliged to sit still and look straight forwards, because their chains render it impossible for them to turn their heads round: and imagine a bright fire burning some way off, above and behind them, and an elevated roadway passing between the fire and the prisoners, with a low wall built along it, like the screens which conjurors put up in front of their audience, and above which they exhibit their wonders.

让我们想象一个洞穴式的地下室，它有一长长通道通向外面，可让和洞穴一样宽的一路亮光照进来。有一些人从小就住在这洞穴里，头颈和腿脚都绑着，不能走动也不能转头，只能向前看着洞穴后壁。让我们再想象在他们背后远处高些的地方有东西燃烧着发出火光。在火光和这些被囚禁者之间，在洞外上面有一条路。沿着路边已筑有一带矮墙。矮墙的作用象傀儡戏演员在自己和观众之间设的一道障，他们把木偶举到屏障上头去表演。

Japanese folk melody usually have two categories is quiet simple, like "cherry" and "Four Seasons", a simple melody to the extreme, the range is limited to one octave, with a flat in the United States and sad ; The other is just the opposite of melody turbulent ups and downs, a large range span, shallow Diyin to sing in the climax of the potential for sudden, the sound is the heart Dang Shen Yao, the highest Chang Dao, often an issue of the Songran Vibrato, the movie "Station" theme song is a case in point,"Beiguozhichun" has the taste of this, the singers sang songs of this kind from time to time to stir up the audience fanatical passion.

日本民歌的旋律通常有两类，一类是宁静单纯的，像《樱花》、《四季》那样，旋律简单到了极点，音域只限于一个八度，平淡中带着一股伤感的美；另一类刚好相反，旋律动荡起伏，音域跨度很大，浅唱低吟中潜伏着突发的高潮，听来令人心荡神摇，唱到最高处，往往会发出一种令人悚然的颤音，电影《车站》的主题歌就是典型的例子，《北国之春》也有这种味道，歌手在演唱这一类歌曲时常能煽起听众狂热的激情。

Once you have your message, you embody it in an advertisement, align your media with your target audience, and cross your fingers.

当你有你的讯息，你体现在一个广告，使您的媒体与您的受众而交叉手指。

But we don't care about Battlegrounds.

但我们并不在乎沙场中的显露。

Ah! don't mention it, the butcher's shop is a horror.

啊！不用提了。提到肉，真是糟透了。