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Having employing Brechtian devices in general, her plays become the new buds of Brechtian theatre in England. Moreover, Churchill has widely experimented with some components of surrealism, absurdism, postmodernism, and even the cruel theatre. She has apparently developed her characteristic style and artistic spectacle.

凯萝。邱吉尔的舞台剧创作在总体上继承了德国戏剧大师布莱希特的叙事剧传统,是布莱希特戏剧传到英国后在英国的气候和土壤中绽出的新蕾,同时又突破了传统的叙事剧风格,融入了超现实主义、荒诞派戏剧、后现代主义乃至阿尔托的"残酷戏剧"的艺术因素,贯注了凯萝。

Zhang Tiemei used painting brush to make classical theatric character to fix on the painting.

所以她笔下的戏剧人物也超越了时空而赋予戏剧更加本质的一种东方意义、一种关于生死、一种关于轮回、一种关于艺术家自己对戏剧的阐释,都反映在她这批戏剧人生的画中。

Zhang Tiemei used painting brush to make cla ical theatric character to fix on the painting.

所以她笔下的戏剧人物也超越了时空而赋予戏剧更加本质的一种东方意义、一种关于生死、一种关于轮回、一种关于艺术家自己对戏剧的阐释,都反映在她这批戏剧人生的画中。

On the other hand, the influence of Absurd drama manifested mainly in the perspective of observing the world in later plays. Absurd drama reveals the uncertainty of the world by the skill of"simile way". Contemporary playwrights draw extensively and broadened the use of"simile way", and create the new simile symbols: anti-classic simile, anti-system simile and anti-meaning simile. At the same time they use a comprehensive simile to create a kind of sensual drama.Absurd drama also destroys the language function of traditional drama by rupture and desegregation, also tends to use "the language of no meaning," to reflect the world's essence. The contemporary generation create a physical theatre to expulse of the role of language. Another extreme is to strengthen language function thus creating a language game.

另一方面,荒诞派戏剧的影响力主要体现在后世剧作对客观世界的认知上:荒诞派通过&直喻&的手法来表现世界不确定性的本质,被后世剧作家广泛借鉴并且拓宽了直喻手法的使用,出现了反经典、反系统和反深度的直喻符号,同时另一个极端则是用剧场性的全面直喻创造了具有震撼力的感官戏剧;荒诞派通过破裂与解体的方法化解了传统戏剧的语言功能,更倾向于用&无义的语言&表达来体现世界的无义,后世剧作家在此基础上索性彻底驱逐了语言的作用从而创造了肢体戏剧,另一个极端则是强化语言功能创造了&语言游戏&。

This thesis holds that all of Chao Yu's dramas should be divided into former period and latter period; the deep structure of former Chao Yu's dramas is the contrast and opposition of an ideal world to a prisonlike world, and the deep structure of latter Chao Yu's dramas is the"clear sky"; the transformation of former Chao Yu's drama to the latter is a transformation of its deep structure.

本文认为曹禺戏剧存在着前期和后期之分;前期曹禺戏剧的深层结构是闭锁的世界与理想国的对照与对立,后期曹禺戏剧的深层结构则是&明朗的天&;从前期戏剧到后期戏剧的转换是深层结构的转换。

In what situation during young children's sociodramatic play involved young children's negotiation behavior?

中文摘要在本研究中,幼儿所进行的是以戏剧的模式为架构之自创故事的社会戏剧游戏,即是幼儿经过故事剧情的创造、角色的设定、剧情的排演与修正,道具与布景的制作的历程,并藉协商的策略来融合同侪间彼此对游戏内涵的意见,达成同侪对社会戏剧游戏的共识,才能够建构出一具有主题剧情、角色与道具的正式社会戏剧游戏,由幼儿创作社会戏剧游戏的历程可知,此研究的情境与一般幼儿自发性的社会戏剧游戏不同。

As the results, when young children in the context of sociodramatic play, what young children needed to do not only to gather the ideas, but also to challenge the personality and the role of teacher. And then, young children could present a special form of soiocdramatic play created by themselves.

由本研究的研究可知,在幼儿所进行的社会戏剧游戏中,幼儿不仅要集合众人的想法,协商并创造出社会戏剧游戏的剧情,其中更是要挑战幼儿个人特质以及老师所带来对於社会戏剧游戏的冲击,才能以戏剧的模式呈现幼儿独特的自创性社会戏剧游戏。

The sweeping temples become the center of the folk entertainment and theatrics because folk society hankers for the entertainment universally. The collective life experience of taking part in the folk dramas together forms a carnival culture of folk dramas approximately. Then the spirit manifests the optimistic spirit of life and a carnival world view of seeking freedom and equality.

起源于宗教祭祀活动的中国民间戏剧因为托庇于节日民俗活动而保持了旺盛的生命力,民间对娱乐的普遍追求使得规模盛大的庙会成为民间娱乐和戏剧演出的中心,万众共同参与民间戏剧的集体生命体验形成了近乎狂欢的民间戏剧文化,其戏剧精神则表现为一种乐观的生命精神和追求自由、平等的狂欢化世界观。

He wrote and recomposed over 40 plays including comedies and legendary plays throughout his life, and made great contributions to the development of modern drama .

尤其在戏剧方面,李健吾一生创作和改编了40多部,包括喜剧、传奇剧等戏剧样式,为现代戏剧的发展做出了重要贡献。

Part of the body is divided into three sections, namely:The first chapter of China's first amateur theater an overview of the background in order to try summed up the meaning of the Chinese characteristics of amateur theater, and then through the meaning and drama of today's non-commercial, non-professional drama, folk drama, drama, and so the concept of education analysis.

正文部分共分三个章节,分别是:第一章首先对中国业余戏剧的背景进行概述,从而试总结出中国业余戏剧的内涵特点,再通过此内涵与今天的非商业戏剧、非专业戏剧、民间戏剧、教育戏剧等概念进行辨析。

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