查询词典 traditional opera

On basis of the traditional Beijing Opera music, he absorbed the elements from other drama and folk art forms, and even the techniques and forms from the Western music, thus to develop the Beijing Opera to a new peak.

又大力吸收其他戏曲、曲艺、民歌等音乐成分，甚至借鉴西洋音乐的技巧、手法、形式，来充实、发展我国传统的京剧音乐，使我国戏曲音乐发展达到了一个新的高峰。

More recently we've worked with professional Chinese opera artists in productions like Yue opera Hedda Gabler and Beijing opera Miss Julie , and are writing Yue opera Lady from the Sea , commissioned by Norway's Ibsen Theatre and Hangzhou Yue Opera Company. There seems to be another benefit resulting from this type of intercultural hybridism: to enrich the repertoire of traditional Chinese opera with more socially relevant stories, and with more psychologically complex characters.

近年来我们跟国内戏曲艺术家们搞的越剧《心比天高》、京剧《朱丽小姐》和正在为挪威易卜生剧院和杭州越剧院写的越剧《海上夫人》则让我们发现了这种嫁接的另一层意义：用更具现实社会意义的故事和更富有心理层次的新型角色来拓宽传统戏曲的视界。

Many opera authors with pertinacity and traditional value attitude, who still viewed to be an official after study, is their ultimate and most satisfaction of lives. The energy of classical opera express social hotspot had been pre-released as trade direct description. Th...

许多固守传统价值观的戏曲作者依然视读书而后仕为人生的终极追求和最大满足，元杂剧正面刻画"商"使古典戏曲表现社会热点的能量提前释放，戏曲艺术审美趣味的文人化嬗变等，造成商贸活动和商人形象在戏曲作品中被漠视。

Growing in Chinese traditional agricultural society, Chinese opera has developed at ease in the cultural environments and communication networks which were created by its autarkic agricultural civilization. Nevertheless, when modern media—such as Shenbao, a kind of newspaper in Shanghai—occurred one by one, with a gesture of modern civilization, Chinese opera began its development and propagation within the communication networks which were cultivated by modern civilization.

戏曲艺术作为中国传统农耕社会的产物，在其原本自给自足的农耕文明所创造的文化环境和传播体系中自在发展，待到以现代文明姿态出现的《申报》等现代媒介的出现，戏曲艺术开始在现代文明所培育的传播体系中生息与繁衍。

To adapt western canonic works with elements of traditional Chinese Opera, to fuse eastern and western theatre art, and to strike a new path for traditional Chinese Opera--such features have become the troupe's hallmarks.

多次取经西方经典，再以中国传统戏曲的元素加以改编，融合东西方剧场艺术，开辟传统戏曲新道路，已成为当代传奇剧场独有的精神与特色。

The drama art in Xinjiang, haw a long history, Each nation created its drama with unique artistic characteristics and styles based on its traditional culture. According to form and genre, the drama is divided into opera, dance drama and local drama. If distingue by national feature and region, I key are Uighur opera, Kazak opera, Sibo opera, melody opera and other local opera from the other pants of China.

新疆的戏剧艺术具有悠久的历史，各个民族在自己传统文化的基础上创造了独具艺术特色与风格的民族戏剧，按其艺术形式和体裁划分有歌剧、舞剧和地方戏曲，以民族特点和地域划分则有维吾尔剧、哈萨克剧、锡伯剧以及从我国内地传入新疆的曲子戏和其它地方戏曲。

Model Opera based on traditional Peking Opera's reform, which breaks traditional prototype, choose practical subject that are a keen to daily life, colloquialism became read-sing processing's result, its wording is extremely rich, which produced inerasable characters.

样板戏&是对传统京剧革新的结果，它打破了传统京剧的模式，选择贴近生活的现实题材，对念唱做了口语化处理，其唱词极富特色，给人留下了不可磨灭的印象。&

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。

From the third rural cultural festival, the Yiwu in Zhejiang Province Department of Culture, Nanjing, Song and Dance Troupe and other units to co-organize the province of professional Wucheng Theater "annual Red Cup" Grand Prix, Zhejiang class vocal group singing competition, Zhejiang Province, the new Rural amateur Wu Opera Competition,"on the River Cup" Wu Opera Music Competition,"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 Chinese Painting Exhibition of high-specification artist cultural exchange activities, greatly enhanced the level of Yiwu Cultural Festival in rural 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。

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。

I am accused of being overreligious," she said in her quiet, frank manner,"but that does not prevent me thinking the children very cruel who obstinately commit such suicide.""

客人们在卡罗利娜·埃凯家里，举止就文雅一些，因为卡罗利娜的母亲治家很严厉。

Designed by French fashion house Herm è s, this elegant uniform was manufactured in our home, Hong Kong, and was the first without a hat.

由著名品牌 Herm è s 设计，这件高贵的制服是香港本土制造，是我们第一套不配帽子的制服。