查询词典 septime

SEPTIME WEBRE : While I have a process that has developed over the years.

赛普提姆·韦布尔：我有一套发展了很多年的程序。

So we talked to Septime Webre, the artistic director of the Washington Ballet.

所以我们采访了华盛顿芭蕾舞团的艺术指导Septime Webre。

Watching Septime Webre work with his dancers is an exciting creative process.

看Septime Webre 和舞蹈演员一起工作是一种令人兴奋的创造性地过程。

STEVE EMBER : Watching Septime Webre work with his dancers is an exciting creative process.

史蒂夫·恩伯：观看赛普提姆·韦布尔和他的舞蹈演员们一起工作是一个非常让人兴奋的创造过程。

Septime Webre had young students from the Washington School of Ballet dance the part of bumblebee insects.

Septime Webre 的华盛顿芭蕾学校的年轻学生表演大黄蜂的角色。

Many of the dancers have been working with Septime Webre since he began with the Washington Ballet nine seasons ago.

多数舞蹈演员从九个演出季以前Septime Webre 开始与华盛顿芭蕾舞团合作时就和他一起工作了。

SEPTIME WEBRE : We've developed together kind of a lingua franca, a shared vocabulary.

赛普提姆·韦布尔：我们一起发明了一种由很多词汇组成的混合语。

SEPTIME WEBRE : Prokofiev's score is one of the great scores written for ballet, and one of the two probably most important ballet scores written in the twentieth century along with Prokofiev's "Romeo and Juliet."

赛普提姆·韦布尔：普罗科菲耶夫的乐谱是为芭蕾舞谱写的最伟大的乐谱之一，其中还有一部20世纪最重要的芭蕾舞乐谱也许就是普罗科菲耶夫的《罗密欧与朱丽叶》了。

SEPTIME WEBRE:"Prokofiev's score is one of the great scores written for ballet, and one of the two probably most important ballet scores written in the twentieth century along with Prokofiev's "Romeo and Juliet.

Prokofiev的乐曲最伟大的芭蕾舞曲之一，连同罗蜜欧和朱丽叶一起，可能是二十世纪最重要的两部芭蕾舞曲。

SHIRLEY GRIFFITH : Many of the dancers have been working with Septime Webre since he began with the Washington Ballet nine seasons ago.

雪丽·葛里菲兹：九个季节之前，在赛普提姆·韦布尔走进华盛顿芭蕾舞团后，很多舞蹈演员都曾和他一起共事。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。