可演出的

The Global Theater,Computer Net Center,news reportage centre and multifunctional hall,from soup to nuts,all the meeting rooms are using the best sound system,can also offer enlarge vioce,video frequency, simultaneous translation service,TV direct seeding,multimedia demo,wide band,meetingvote system,mise en scene,play movies and dinner party services etc.

环球剧场，计算机网络中心，新闻制作中心，新闻发布中心和多功能签约厅，一应俱全，所有会议室及演出场所均采用世界上最为先进的音响、声控系统及配套设施，可提供语音扩声、视频会议、同声传译、电视直播、多媒体演示、宽带网络、会议表决、新闻发布、舞台演出、影视放映、宴会客房等服务，可满足宾客的各种会议需求

The Global Theater,Computer Net Center,news reportage centre and multifunctional hall,from soup to nuts,all the meeting rooms are using the best sound system,can also offer enlarge vioce,video frequency, simultaneous translation service,TV direct seeding,multimedia demo,wide band,meetingvote system,mise en scene,play movies and dinner party services etc.There are large quantities of administrant persons with ability and advanced service system here.

环球剧场，计算机网络中心，新闻制作中心，新闻发布中心和多功能签约厅，一应俱全，所有会议室及演出场所均采用世界上最为先进的音响、声控系统及配套设施，可提供语音扩声、视频会议、同声传译、电视直播、多媒体演示、宽带网络、会议表决、新闻发布、舞台演出、影视放映、宴会客房等服务，可满足宾客的各种会议需求

The Impressionists, who included the French artists Camille Pissarro (1830-1903)and Pierre Renoir (1841-1919), rejected the dark tones of 19 th century studio painting, set up their easels out-of-doors, and tried to capture the brilliant effects of sunlight on water, tress and fields, and pretty girls.

由于道具简单小巧，艺人们可把木偶装在布袋里下乡演出，故称布袋木偶戏。福建布袋木偶剧团曾六次出国演出，访问过南斯拉夫，罗马尼亚，法国，瑞士，美国等十九个国家和地区，获得很高的评价。

A conclusion is provided in the third part. The author restates that a translator should notice both the pragmatic equivalence and semantic equivalence in translating drama.

最后第三部分是结论部分，在此作者明确观点：在戏剧翻译的实践中，要充分考虑语用因素顾及译入语读者的反应和剧本的可演出性。

Suitable for the most demanding shows,,the Frog 2 offers maximum ease of programming for both live entertainment and prerecorded theatre or TV shows,whether moving lights,conventional lights,or both.

Frog Ⅱ是用于各种大型演出，能同时控制固定灯具和电脑摇头灯。可为现场演出、预先录制演出和电视现场直播演出提供最简单的操作模式。

The words "Pai-Chang"or "Pai5 Tiunn5" have many meanings But when used in traditional opera or music and explained as a kind of formal musical performance they are only applied in Taiwanese Peguan and Nanguan cultural circle particularly in Peguan circle There are two kinds of characters of "Pai-Chang" in terms of the function of the performance namely artistry and folk custom In Tainian city "Pai-Chang" which refers to the formal vocal performance without makeup and acting; nevertheless is used by the amateur actors' organizations of Peking opera as well Such a phenomenon raises two questions: first of all Although Peking the origin of Peking opera has vocal performance of Peking opera "Pai-Chang" is never used either artistry or folklore therefore how does this jargon hand down to the Peking opera circle in Tainan city ?

「排场」(pai5 tiunn5或ㄆㄞˊㄔㄤˇ)一词，用於戏曲音乐方面，做音乐的正式演出型态解释者，为台湾南北管文化圈所特有，其中又以北管最常使用。其以表演目的或弁郧荌粥洃嚏A可分为艺术性与民俗性两种。然而，在台南市及其周边的京剧文化圈内，亦使用有「排场」(pai5 tiunn5或ㄆㄞˊㄔㄤˇ)此一语汇，也指京剧的「正式清唱演出」。本研究动机基於对目前仅见於台南市及其周边之民俗性京调排场的两点疑惑：其一，按京剧的形成地－－北京，虽亦有京剧的清唱演出，然不论为艺术性或民俗性，北京人都不称为「排场」，那麼台南市京剧圈的排场语汇是如何得来的呢？代表了何种意义？

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。

Other than acting in the "The Million Dollar Hetel", Mel Gibson screens in this non-action film. It is obvious he does not want to be seen only as an action star. He is appreciated as having caught up in his acting skills in comedy. It makes audience a big supprise in terms his performance.

米路吉逊继&地痞酒店谋杀案&后，又再一次接拍非动作片种，明显是不想被定型为动作演员，此片可欣赏其准确捕捉喜剧节奏的演出，无论故事或他的演出，都带给观众无限惊喜。

But the One retains all ultimate authority, and (or so it seems as viewed in serial time) reserves the right to intrude the finger of God into the story: that is to produce realities which could not be deduced even from a complete knowledge of the previous past, but which being real become part of the effective past for all subsequent time (a possible definition of a 'miracle').

然而，主神仍然拥有最高的权威，而且在故事里拥有 God 的能力：他能创造无法从过去所有历史中推演出的现实，这种现实倘若成真，在从此以后的时光里它就会被认为是真实发生的过去的一部分（可作为&奇迹&的一个定义）。

To know about more details of this production and the V-Day Arts Movement, please check SHADOW' s official personal website at www. shadow-show.com.

有关该次北京演出及V日艺术活动的详细情况可进一步在影子个人官方网站www.shadow-show.com的&演出&条目下获取。

The concept of equivalent rotationally rigidity is offered and the formula of rotationally rigidity is obtained.

主要做了如下几个方面的工作：对伸臂位于顶部的单层框架—筒体模型进行分析，提出了等效转动约束的概念和转动约束刚度的表达式。

Male cats normally do not need aftercare with the exception of the night after the anesthetic.

男猫通常不需要善后除了晚上的麻醉。