戏曲

In the development of Chinese drama, owing to the literati's participation in playwriting, the"thematic consciousness"and the"structural concept"derived from traditional poetry and prose aroused the Ming literati's reflection on the"lyricism"and the"dramaticism"of Chinese drama, urging them to make concrete improvements on dramaturgy. The Ming literati's efforts formed a new trend of theorizing the writing of Chinese drama.

中国戏曲发展至明代，由於文人染指日深，诗文文学中所固有的「主题意识」与「结构观念」曾启示，或诱发了部分文人对於戏曲中所必有之「抒情性」与「戏剧性」之结合产生深刻之反省，并亦使之有了具体改革的尝试，因而逐渐呈现出意图将戏曲之创作予以理论化之趋势。

With their ingenious opera creation and prominent theoretical exploration, they enriched Chinese ancient opera creation and its theory, made ineffaceable contribution to the development of Chinese ancient opera, held a lofty position in the history of Chinese opera and possessed extremely important research value.

越中曲家以独具特色的戏曲创作和卓尔不凡的理论探索，丰富了中国古代戏曲创作和理论的宝库，为古代戏曲的发展作出了不可磨灭的贡献，在中国戏曲史上占据崇高的地位，具有极其重要的研究价值。

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。

Today, existence of the Shanxi opera and development space have already become very narrow and small, the Shanxi opera enters a low ebb period, is being squeezed by other culture gradually, fall low for the condition of the culture of edge.

通过对山西戏曲剧种文化地理的研究与分析，从而揭示出山西戏曲剧种文化分布的规律性，可以使我们更真切地认识到山西戏曲剧种作为一种"活态"的文化。

Taletelling" is a typical form of oral communication,"acting", a comprehensive one and one of the perfect forms for human communication, and the "partly-versed novel , another form of the communication, as a middle style between the novel and drama; of course, the entrance of verses into the novel is not meant merely to stand close by the orthodox.

中国古代白话小说戏曲传播，虽然是发生在以文字为主要传播媒介的时代，却由于接受者的待殊性，语言一直是与文字同样重要的传播媒介。"说话"是口语传播最纯粹最典型的表现形式；"表演"是一种综合性的传播方式，也是人类传播活动中最完美的表现形式之一；"词话"是介于小说与戏曲之间的文体，却同时又作为小说戏曲的传播方式存在。

During 50 years after coming into being in Chinese film, Traditional opera film living space is less , is in authigene state basically, system that the theory and aesthetics creating laws at the same time since Chinese motion picture technique , the artistic media restricting , traditional opera film creation do not form one package to traditional opera film study.

在中国电影诞生后的50年间，戏曲电影的生存空间较小，基本处于自生状态，同时由于中国电影技术、艺术手段的限制，戏曲电影创作没有形成一整套对于戏曲电影创作规律的理论和美学研究的体系。

But most works fragmentarily placed emphasis on the role of political propaganda and agitation whereas they did not only take into account of a unique system of art of Chinese Opera but also they neglected searching for humanistic thoughts and the embodiment of life.

清末民初戏曲改良是对封建时代的旧戏曲向现代戏剧转变所迈出的第一步，它宣告了中国传统戏曲的终结，成为中国戏曲发展史上的一个转折点，对以后的戏剧创作和戏剧运动有着直接的、积极的影响。

After pointing out the connotations of the two theories, the author puts a stress on clarifying their gains and losses. The author thinks that,""Drama-Poetry Theory"" enlightened some playwrights' drama-creating, but it didn't intactly reveal the ousia of opera;"" Yue-Ousia Theory""explored the question of Opera origin , but it still didn't work out the ousia structure of Chinese traditional opera.

在阐明这两种学说各自的内涵之后，着重辨析了它们各自的得失，指出：&剧诗说&虽能在一定程度上指导戏曲创作实践，并启示了一种对于戏曲艺术的诗性领悟方式，但并未完整地揭示出戏曲艺术本体，也没有准确地把握到戏曲艺术精神；&乐本体说&虽然深入地探讨了戏曲本源问题，揭示了戏曲艺术的精神命脉和审美定性，但由于未能贯彻历史的、发展的、辩证的观点，仍未能准确完整地把握到戏曲的本体结构。

The thesis tries to analyze the close relationship from four parts: expressions, figure, language and style, so to show that Meng Cheng-shun is not only an excellent playwriter but also a traditional play theorist.

试图从戏曲传情、戏曲人物塑造、戏曲语言、戏曲风格四个方面分析孟称舜的戏曲理论与戏曲创作之间的密切关系，从而彰显出孟称舜不仅是一个优秀的戏曲作家，而且在戏曲理论方面也有很高的造诣。

It is adverted to the profound comprehension of Musical Culture, the strict criterion of the Confucianists, the influence of the authenticative vividity. On the inner reason, I mainly study the perform situation and the art inheritance during the drama forming period, such as the simple and rough perform situation Washe and Goulan during the drama forming period, and the influence of various accomplishments especially narrative aria etc.

话语类型主要论述中国戏曲中抒情性话语、叙述性话语和戏剧性话语的分类与特点；话语交流系统主要分析戏曲演出时，行当与观众、人物与观众、人物与人物之间的三重交流语境各自的特点及其相互转换的方式；话语视野主要阐述剧作家外视野对于戏曲中人物内视野的关照，及其对观众接受视野的影响。

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。