上舞台

The face of the actor needs to change his face's appearance according to the scene of the drama in a very short period of time like the moment of raising the arm, moving the sleeves or moving the head.

川剧把"变脸"搬上了舞台，这是一种"瞬间艺术"，演员根据剧情的需要，在极短的时间内，在一抬手一拂袖一甩头之间，变换出不同的面目来。

In the scenario acted out on stage, one person is killed, a motorcyclist is in bad shape, and a seriously injured passenger must be cut out of the car.

在舞台上的剧情，有一个人遭杀害，一位机车骑师体无完肤，一位重创的乘客必须在车内被截肢。

The final production is a combination of four arts:dancing,music,drama and painting.

最后出现在舞台上的芭蕾舞作品，是四门艺术——舞蹈、音乐、戏剧和美术的综合产物。

"It is very thrilling and very delightful to step out onto that Amsterdam Theater, where my career in musical comedy theatre started."

"重新走上新阿姆斯特丹剧院的舞台真是令人又激动又愉快，我的歌舞剧生涯正是从这里开始的。"

In other countries'view, Canada was nothing but a myrmidon of western countries, its role just switch from a Free State of Great Britain to a yesman of the United States.

在冷战期间的亚太地区政治格局中，抢占人们视野的远不止美国、苏联等国家，加拿大在这个舞台上扮演了至关重要的角色。

Nation-state as a product of history, will continue to perform on stage in the history of its path.

民族国家作为一种历史的产物，将继续在历史舞台上演绎着它的路。

Now ,Beijing are looking for a nationalistic sentiment and the recognition of its power on the international scene .

现在，北京政府寻求的是民族主义群情和国际舞台上对中国强国角色的认知。

Every nuance is important at this stage so you have to become aggressive from time to time, too.

在这个舞台上每一个细微都是重要的，所以你必须一直保持进取心。

I have to tell you — the first time I was completely nude on stage I was seven.

我不得不告诉你——第一次在舞台上全裸的时候，我才七岁。

Recent nudity on the stage has been the talk of the town.

最近舞台上出现的裸体已成为大家谈论的话题。

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。