戏剧的

Sociologist Erving Goffman (1922-1982) used the concept of the theater metaphor to analyze how people interact in everyday performance He examined the roles taken on by individuals, different aspects of these roles, how individuals interpret these roles, and how individuals distance themselves from the roles. He explained how individuals go through their lives like actors on the stage playing out their roles for others. In the theatre, the front-of-house staffs are the obvious, most easily recognized representatives of the Service.

社会学家尔文高夫曼(Erving Goffman，1922-1982)运用戏剧分析模式来解读平日习以为常的互动秩序，其认为人们都是舞台上的演员，在观众面前必须竭尽所能，将最完美的演出行为加以呈现并发展出套独特的戏剧论，将社会互动比喻成一连串的表演或戏剧，行为比喻成戏剧演出，而人们在观众面前扮演各种不同角色，一切的行为举止都试图符合他人期待，因此人们会随著不同的情境或观众的要求，自我改变而呈现多种面貌，并调整形象来强化演出。

The dramatist and musical characters and the perfect combine between music and drama are the purports. The thesis is divided into three parts: the preface, four chapters and the conclusion. In the preface it is explained that what in this thesis is expounded and what kinds of study about the opera there are in Chinese and in the other area of the world. The first chapter is a summary about Gounod and his"Faust", which is the typical work in lyric operas. In the second chapter analysis on drama, the character and figures of the roles in the opera is made, and the characteristic of the plot ,the creation of opera and framework is put together. In the third chapter the music in the opera is studied, and the characteristics are put together on the base of particular analysis on typical passage of aria chorus ensemble. In the last chapter, perfect combine between drama and music is presented by study on Faust's character and psychology,and it is discussed that music implied the plot. And the conclusion is a whole comment of the opera and it's musical characteristics

更多论述。全文由引言、四个章节、结论等几个部分组成：引言是关于论文的选题、国内外研究现状的陈述，指明笔者选题的意义以及国内外学者对此课题的研究程度；第一章是对抒情歌剧作曲家古诺以及抒情歌剧的典范之作《浮士德》的一个总体上的概述；第二章从人物性格与戏剧情节、戏剧结构、戏剧创作等方面对歌剧《浮士德》进行分析，归纳其戏剧特点；第三章是对歌剧《浮士德》音乐特点的研究，通过对咏叹调类、重唱类、合唱类唱段中有代表性唱段的具体分析，总结其在音乐创作方面的主要特点；第四章从音乐刻画人物的性格与心理、音乐暗示戏剧情节的发展等方面，论述了歌剧《浮士德》在戏剧与音乐方面的完美结合；结论是对歌剧《浮士德》的整体论析。

Drama translation; Ying Ruocheng; systems paradigm; dramaturgical analysis; stylistics of drama; corpus-based translation studies

基金 江苏省&青蓝工程&；关键词戏剧翻译；英若诚；系统范式；戏剧艺术分析；戏剧文体学；基于语料的翻译研究

The result of this study divided into there parts. Before the scripts of sociodramatic play created by young children themselves, they selected and adopted fairy tales to be their scripts of sociodramatic play. In this process, the most important of young children's negotiation behavior was the "roles", which was one of the essential factors of sociodramatic play. Young children took several methods to negotiate the problems of sociodramatic play, such as metacommunication, interpretation and explanation.

在研究结果方面分为三部分讨论，首先讨论的是幼儿在尚未开始以自创故事为架构所进行之社会戏剧游戏，幼儿是以其所知的童话故事为主干进行社会戏剧游戏，幼儿在此历程中协商的重点，是社会戏剧游戏中三大要素里的「角色」这个要素，以后设沟通、说明与解释等方式为主要协商社会戏剧游戏问题的策略。

And meanwhile, the drama structure power formed with leading motive's transfixion and well layouted tonality enhances the integrality of the musical drama structure ulteriorly.

更多具有独立的戏剧结构，音乐的发展与戏剧内容密切配合，同时，主导动机的贯穿及调性合理有效的布局所形成的戏剧结构力，更增强了整体音乐戏剧结构的完整性。

The main focus of this thesis is studying chorus'dramatical function in operas by taking"Carmen"as an example. The analysis lies on six aspects, which are narrating stories, romancing atmosphere, figuring characters, comporting contrasts, opening out the main subject, and expressing the emotion of the characters.

本文以研究合唱在歌剧中所承担的戏剧功能为目的，以歌剧《卡门》为例，具体从六个方面分析了合唱在歌剧《卡门》中的戏剧功能，这六个方面分别是用合唱铺陈戏剧情节、渲染戏剧气氛、参与形象塑造、表现矛盾冲突、揭示戏剧主题和抒发人物情感。

First, to take ideology as a weapon was the starting point of the revolutionary drama-"the Left Drama"while to pay attention to human and the conflict between human and the society, which led to the probation of the connotation of the conflict consciously was the core of sub-current realism. Second, the main current realism had a strong revolutionary"proletariat"aim and political sense-objective sense while the sub-current realism focused on people and setting up characters. Third the main current realism laid too much emphasis on the sense of mission of its time which led to the tendency of formulizing and generalizing while the sub-current realism paid attention to the firm objectivity and to imitate life as their aesthetic ideal, and as a result the sub-current realism produced vigorous works. CHAPTER 4 Realistic Chinese modern drama experienced a hard and winding way of development. It was even worse after the People Republic of China was established.

本章还从三个基本方面入手，论述了主流的现实主义与非主流的现实主义内质的差异与不同的发展趋向，即作为一种武器的思想是主流的革命现实主义中&左翼戏剧&的出发点，与注重人与命运、人与现实的冲突，从而自觉追求冲突内涵的挖掘是非主流现实主义的核心；主流的革命现实主义中&普罗列塔利亚式&强烈的革命目的&目的意识论&与非主流现实主义的倾心于人物、注重人物塑造的审美原则；主流的革命现实主义所强调的时代使命感而产生的公式化、概念化倾向与非主流的现实主义所注重的客观性、以摹仿生活真实为审美理想而产生的具有生命力的话剧剧作。

In such a way a series of vivid characters were produced during this period of timeIn the later half of 1940,movie literature scripts complied with the historical process of the Chinese modem literature,and echoed the turbulent tide of the times.Either emphasized on the consciousness of social criticism,or inclined to the consciousness of humanism,its ideological nature and the direction for creation was very explicit.But this "directional" expression and the demand were not conceptual,or stiffly inbreathed. It is the "concrete image",the "metaphor" of the text,revealed naturally in accordance with the development of the plot and the molding of characters.It can be said as "the wind rippled the surface of the water naturally" and presented excellent artistic technique and high standard.The film scripts writers of the society group undertook the Chinese movie tradition of moving with the history,on an unusual level achieved a new altitude of ideology,and obtained a new artistic achievements.

由于电影文学剧本独特的语言表达方式，其在人物塑造上具有不同于小说、戏剧的特点。1940年代后半期电影剧作者高度重视电影文学剧本中人物形象的塑造，运用电影化的思维方式来刻画人物，依托人物性格的发展来展开故事，使得这时期电影文学剧本在引人入胜的故事书写中，绘就出了一长串内涵丰富、形象生动、有血有肉的人物群。1940年代后半期电影文学剧本既顺应着中国现代文学的历史进程，又呼应着动荡巨变的时代大潮，无论是侧重社会批判意识的，还是倾向人文关怀意识的，其思想性或方向性是非常明确的，但这种&方向性&的表达和诉求既不是概念性的，也不是生硬的灌输，而是&具体形象&的，是&隐寓&文本之中，在故事情节发展和人物性格塑造之中自然而然地流露出来的，可以说是&风行水上，自然成纹&，呈现出高超的艺术技艺和水准。

The royal theatrical costume and the folk theatrical costume, the theatrical costume and the living costume, the study of the theatrical costume and the study of the theatrical literature all interplay each other. The former two interplays were drives to stimulate the development of the Chinese ancient theatrical costume. The later told us, the study of drama must not ignore the drama' s essence. Studying the theatrical costume should such do, so does the study of the theatrical literature.

中国古代宫廷演戏服饰与民间演戏服饰之间、戏剧服饰与生活常服之间、戏剧服饰研究与戏剧文学研究之间都是互动关系，前两种互动是推动中国古代戏剧服饰不断发展并最终形成独立体系的动力，后一种互动则表明：戏剧研究一刻也不能离开扮演角色这一本质，戏剧服饰研究如此，戏剧文学研究也应当如此。

The Chinese ancient theatrical costume 's genesis relates to the origins of the Chinese Ancient Drama and the Chinese ancient clothing. Since the Chinese Ancient Drama comes of the primitive men 's roll playing and the Chinese clothing comes of the primitive men 's dressing themselves up. So the Chinese ancient theatrical costume comes of the primitive men 's primping up themselves for roll playing.

中国古代戏剧服饰的起源与中国古代戏剧和中国古代服饰的起源都密切相关，戏剧起源于原始人的角色扮演，服饰产生于原始人对自身的装饰，因此，中国古代的戏剧服饰起源于原始人通过装饰自身而进行的角色扮演。

It has been put forward that there exists single Ball point and double Ball points on the symmetrical connecting-rod curves of equilateral mechanisms.

从鲍尔点的形成原理出发，分析对称连杆曲线上鲍尔点的产生条件，提出等边机构的对称连杆曲线上有单鲍尔点和双鲍尔点。

The factory affiliated to the Group primarily manufactures multiple-purpose pincers, baking kits, knives, scissors, kitchenware, gardening tools and beauty care kits as well as other hardware tools, the annual production value of which reaches US$ 30 million dollars.

集团所属工厂主要生产多用钳、烤具、刀具、剪刀、厨具、花园工具、美容套等五金产品，年生产总值3000万美元，产品价廉物美、选料上乘、质量保证，深受国内外客户的青睐