查询词典 performers

The final rehearsal reportedly included dancers, musicians and aerial performers, as well as Jackson suspended from a crane at one point and a 3-D view of a "Thriller"-inspired haunted mansion.

据报道，最后的彩排包括舞者、乐师和空中表演者，而Jackson则悬吊着、以从鬼屋出现的3D视角的Thriller造型现身。

Chinese acrobatic performers, even performers of traditional magic are required to have good basic acrobatic skills.

中国杂技艺人，即使是表演传统戏法的演员也要有扎实的基本功。

By famous game " galactic soldier " adapted film " Tie Yi commander " the booking office when showing owes beautiful, most a long time ever had more than 1000 2 cinemas to show, gain the income of 1 thousand dollar only however; The film " barrow beautiful shadow " show in those days refresh the new record with box-office film of woman leading role, adventuress fatigue helps the person that became European widely known, however " barrow beautiful shadow 2 " before be inferior to greatly however, film horizontal general, story clue convention is drab, adventure looks more resembling is travel, income of first show booking office is 21.7 million dollar, far a club for amateur performers of Beijing opera under the 47 million dollar that achieves when first show of this the first collect income; CG film " final illusion " the picture is elegant, the person is living, some star still worries about down to the actor can be in the computer to replace true person actor in the future, and of whole story clew and coherent clue be short of break, become the pen of one defeat utterly of film.

由闻名游戏《银河战士》改编的电影《铁翼司令》放映时票房欠佳，最多时曾有2千多家电影院上映，却只取得1千多万美元的收入；电影《古墓丽影》放映当年刷新了女性主角电影票房的新纪录，女冒险家劳拉成为了欧洲家喻户晓的人物，然而《古墓丽影2》却大不如前，拍摄水平泛泛，故事情节俗套乏味，冒险看起来更像是旅游，首映票房收入为2170万美元，远低于该片第一集首映时创下的4700万美元票房收入；CG电影《最终幻想》画面精美，人物逼真，以至某影星还担心计算机演员会在将来代替真人演员，而完整故事线索和连贯情节的缺失，成为影片的一大败笔。

In most situations where music is performed in our culture it is not difficult to distinguish the audience from the performers, but such is often not the case in africa. alban ayipaga, a kasena semiprofessional musician from northern ghana, says that when his fluteand drum ensembleis performing."anybody can take part".

（47）在大多数情况下，如果是在我们自己的文化中演奏音乐，就很容易区分观众与演奏者，但在非洲，情况通常并非如此。alban ayipage，一名来自加纳北部的喀萨纳半职业音乐家在他的长笛与鼓歌舞团表演时说道，"任何人都可以参加"。

The contents include:Interpretation;Prohibition of making records without consent of performers;Prohibition of making cinematograph films without consent of performers; Foreign records and films to be deemed to contravene Act in certain circumstances;Rebroadcasting of performances; Giving of consent without authority and so on.

其内容包括：释义；禁止未经表演者同意的录制；禁止制作未经表演者同意的电影；在某些情况下被视为违法的外国记录和电影；表演的转播：未经授权但被认可的权利等等。

In order to ensure management jobholder's quality, the company adopts 20-70-10 rule, which means the 20% top performers would be lavishly rewarded, middle 70% would get proper encouragement and help, and the bottom 10% performers would be let go.

14.2.4 为保证管理层员工的质量，公司采用20-70-10原则。即表现突出的前20%员工会得到较大的奖赏。70%的员工得到适当的鼓励，和帮助。表现差的10%员工需要寻找其它工作。

However, Jiazhangke's films create the space by using motion, shooting scale ,the relations among performers and the transportation and a outer space of image in Jia's films is also created through dispatching the shot, performers and multiple space ,refering to which this text reexplains and conformities the film's concept of space and analyses how to create the space using audio in order to formulate Jia's understandings to space――the film space view of "non-mirror-image" and the inherent tension and open space idea taking root on the reality.

本文通过对电影空间概念的重新诠释和整合，以及对贾樟柯利用运动、景别、人物关系和交通工具营造空间，通过贾樟柯对影片中镜头、演员、多重空间的调度，创造画外空间，和用声音创造空间等实证性的分析，阐述了贾樟柯对空间的理解——非镜像化的电影空间，以及这种理解扎根于当下、立足于现实而形成的内在的张力和开放式的空间观念，揭示了他的作品独特的空间观念及这种空间观念对中国电影民族化的影响。

However, the opera structure allows space for the performers to perform in their own way. Actually, the audience is more infatuated with the performers' unique way of presentation than attracted by the unwinding of plot.

仍以中国的京剧或昆曲为观察点，它们的情节大都为观众所熟知，其结构中通常隐含着可供表演者挥洒的空间（而这种表演者的发挥往往是以歌舞的形式出现）；观众看戏，与其说是被未知的剧情所吸引，还不如说是为表演者独到的阐释方式所迷恋。

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。

Traditionally, most of the performers at the festival are not well known outside of Louisiana. More than eighty percent of the performers are locals, including Buckwheat Zydeco. Here is his song "I'm Gonna Love You Anyway."

一般来说，这个盛典上的大多数表演者在路易斯安娜州以外的地区不太出名，80%的表演者是当地人如巴克威特-捷地克，下面来听一首他演唱的歌曲&我就是爱你&。

According to the clear water experiment, aeration performance of the new equipment is good with high total oxygen transfer coefficient and oxygen utilization ratio.

曝气设备的动力效率在叶轮转速为120rpm～150rpm时取得最大值，此时氧利用率和充氧能力也具有较高值。

The environmental stability of that world - including its crushing pressures and icy darkness - means that some of its most famous inhabitants have survived for eons as evolutionary throwbacks, their bodies undergoing little change.

稳定的海底环境─包括能把人压扁的压力和冰冷的黑暗─意谓海底某些最知名的栖居生物已以演化返祖的样态活了万世，形体几无变化。