戲劇作法的 的英文怎麼說

中文拼音 [xìjùzuòfǎde]
戲劇作法的 英文
dramaturgic
  • 戲 : Ⅰ動詞1 （玩耍; 游戲） play; sport 2 （開玩笑; 嘲弄） make fun of; joke Ⅱ名詞1 （戲劇; 雜技） dram...
  • 劇 : Ⅰ名詞1. （戲劇） theatrical work; drama; play; opera 2. （姓氏） a surname Ⅱ形容詞（猛烈） acute; severe; intense
  • 法 : Ⅰ名詞1 （由國家制定或認可的行為規則的總稱） law 2 （方法; 方式） way; method; mode; means 3 （標...
  • 的 : 4次方是 The fourth power of 2 is direction
  • 戲劇 : 1 （表演藝術） drama; play; theatre 2 （指劇本） script; play; scenario; 戲劇界 theatrical circle...
  1. Types of facial makeup in operas initial role is exaggerated her role with striking places and face the veins, using exaggerated by the performance of dramatis personae of personality, psychological and physiological characteristics, and using this to the entire drama circumstances, but later types of facial makeup in operas by kan to complex, from rough to the small, youbiaojili, from shallow to deep, itself becoming a nation of characteristics, to the facial expression means for the pictorial arts

    臉譜最初的作用，只是誇大劇中角色的五官部位和面部的紋理，用誇張的手法表現劇中人的性格、心理和生理上的特徵，以此來為整個戲劇的情節服務，可是發展到后來，臉譜由簡到繁、由粗到細、由表及裡、由淺到深，本身就逐漸成為一種具有民族特色的、以人的面部為表現手段的圖案藝術了。
  2. Critical of china ? s overwhelming social injustice in the 1930s, he used his films as a vehicle to express his displeasure from an intellectual ? s conscience, yet always aimed for realism and humanism rather than overtly emotional propaganda. his fresh approach with thorough dramatic structure told with conviction, romantic lyricism, humour and youthful passion had won him much applause and the laurel of ? poet of cinema ?

    從《野玫瑰》 （ 1931 ）到《火山情血》 （ 1932 ） 、 《天明》 （ 1933 ）到《小玩意》 （ 1933 ） ，他都被澎湃的創作熱情和理想所驅動，借用西方戲劇結構和新穎的電影手法，表現出追求公義的信念與浪漫詩意、幽默趣味和青春活力，因而贏得贊賞，被尊為電影詩人。
  3. In fact, any kind of street performance can be regarded as a form of busking. this includes fire - breathers, jugglers, storytellers, mime artists and dancers

    事實上，任何類別的街頭表演都可以被當作一種街頭藝術形式。這就涵蓋了玩噴火把戲者，變戲法者，說書人，啞劇藝術家和舞蹈者的各類人群。
  4. It also offers an impressive range of visual art, such as popular prints from china and epinal, france. le french may is also a chance for many young talented french artists to give audiences an eye - opening visual experience

    第十五屆法國五月藝術節請來多位法國首席藝術家，以一連串精采絕倫的舞蹈音樂戲劇以及視覺藝術製作，為您演繹浪漫瑰麗的法國情懷。
  5. She could not follow the opera ; she could not even listen to the music : she saw nothing but painted cardboard and strangely dressed - up men and women, talking, singing, and moving strangely about in the bright light. she knew what it all was meant to represent ; but it was all so grotesquely false and unnatural that she felt alternately ashamed and amused at the actors

    她無法繼續注視歌劇劇情的進展，她甚至不能再聽音樂了，她只看見彩色的硬紙板打扮得稀奇古怪的男男女女，在耀眼的燈光映照下做出奇怪的動作，一會兒說話，一會兒唱歌，她知道這一切必然是戲臺上的表演，但是這一切如此矯揉造作虛假而不自然，她不禁時而替演員害臊，時而覺得他們滑稽可笑。
  6. A characteristic creative team with perseverence, rich works and noticeable realistism are good signs for hubei drama, but must be pointed out, hubei drama development with scarcity of innovation sense and the singleness of technique of expression can ' t be equal with the prosperity of china drama in new period yet

    其成就主要表現在形成了獨具特色的有恆心有恆產的創新團隊和創作集體、戲曲創作成績斐然、鮮明的現實主義色彩這三個方面；其不足主要表現為戲劇發展明顯失衡、創新意識並不濃烈和表現手法單一等等。
  7. The legal right granted to an author, a composer, a playwright, a publisher, or a distributor to exclusive publication, production, sale, or distribution of a literary, musical, dramatic, or artistic work

    版權授予文學、音樂、戲劇或藝術作品的作者、作曲者、劇作者、出版商或獨家經營出版、生產或銷售的批發商的合法權利
  8. The peony pavilion of a play classic has various chinese and foreign editions, fulfilling to accept the esthetic literary history theories that readers get involved ins this paper regards accepting the esthetic methodology as the degree of dimension for bai xian - yong the peony pavilion plans, investigates to deduce from literature classic to the drama process, investigates the reader ' s baixian - yong arriveing at the white that is used as the fabricator of the conversion, and investigates the western and modern theories on the chinese classic that a play reorganizes

    文章以接受美學方法論為維度，就白先勇《牡丹亭》的策劃、製作和傳播進行縷析，探索從文學經典到戲劇演繹的接受歷程，探索作為讀者的白先勇到作者的白先勇身份轉換，探索西方現代理論對中國古典名劇改編的適應度。
  9. Le french may is bringing to hong kong an array of top - notch french artistes, and cutting edge french productions covering dance, music, theatre and the visual arts

    法國五月藝術節請來多位法國首席藝術家，以一連串精采絕倫的法國舞蹈音樂戲劇以及視覺藝術製作，為香港添上浪漫的法國色彩。
  10. Chopin ' s " fantasia in f minor " is comprehensivey diversified in its structural composition thanks to the intense and profound heroic epic poem style and the huge amount of complex theatrical techniques applied

    摘要肖邦《 f小調幻想曲》由於其作品強烈深刻的英雄史詩般風格，創作中大量運用了龐大復雜的戲劇性手法，反映在結構形式上更趨綜合多樣化。
  11. Taozhu thought the ways of the ideological and political work were various. lt mainly concluded speech, report, meeting, symposmm, discussion, newspaper, commumcation, broadcast, movie, drama, literary and artistic creation etc. taozhu also emphasized that the ideological and political work should adopt ways of opening hearts, talking earnestly, critisizing and educating instead of struggling

    六、思想政治工作應採取多種方式陶鑄認為思想政治工作的方式是多種多樣的，主要有演講、報告，開會、座談、討論，報紙、通訊、廣播，電影、戲劇、文藝創作等。陶鑄還強調思想政治工作不能採取斗爭的方法，只能採取交心、懇談、切磋的方法，批評教育的方法。
  12. There is no question of the dramatic impact of his solutions.

    他的作法有著戲劇般的影響，這是毫無疑問的。
  13. This year s highlights include opera, music and dance featuring brilliant performances by top french artistes. it also offers an impressive range of visual art, such as popular prints from china

    第十五屆法國五月藝術節請來多位法國首席藝術家，以一連串精采絕倫的舞蹈音樂戲劇以及視覺藝術製作，為您演繹浪漫瑰麗的法國情懷。
  14. In christopher marlowe ' s play, the jew of malta, barabas ' marginal identity, his comments on other characters and dramatic events, the sharp contrasts between sage words and mean deeds, and the questions for spectators in the asides and monologues, together created an alienation effect, which is quite similar to the v - effect that the german playwright bertolt brecht advocates

    在克里斯托弗.馬洛的劇作《馬耳他島的猶太人》中，猶太人巴諾巴斯的局外人與評論者地位、劇中人富含哲理性的辯白與卑劣行為所造成的強烈反差，以及旁白與獨白中直接對觀眾而發的問題等手法，與德國戲劇家貝托爾特.布萊希特所倡導的間離手法極其相似，客觀上製造了陌生化即間離的效果。
  15. A big finger has pointed down from the sky and said " do n ' t mess up ". i am very conscious of that.

    戲劇性的是，邁亞特已發現有一名倫敦的畫家已經開始在非法炮製他的作品。
  16. Section 110 ( 5 ) of the united states copyright act, as amended by the " fairne in music lice ing act " enacted on 27 october 1998, exempts, under certain conditio, the communication or tra mi ion embodying a performance or di lay of a work by the public reception of the tra mi ion on a single receiving a aratus of a kind commonly used in private homes ( sub - paragraph a, referred to as " homestyle exemption " ) and, also under certain conditio, communication by an establishment of a tra mi ion or retra mi ion embodying a performance or di lay of a non - dramatic musical work intended to be received by the general public ( su aragraph b, often referred to as " busine exemption " ) from obtaining an authorization to do so by the re ective right holder

    美國版權法110節第5段經1998年10月27日頒布的《音樂許可公平法案》修正，規定了，在一定條件下，傳播或傳送含有公眾可以在一種在私人家庭中經常使用的單一接收裝置上接收到的一件作品的表演或展示（ a小段稱為"家庭免除） ；以及在一定條件下，一個設施傳送或二次傳送旨在讓公眾接收的含有非戲劇音樂作品的表演或展示，可以不必獲得分別的版權持有人的授權。
  17. The author liked to extend his story in centered and pointed contradiction collision, producing a very dramatic situation, from which he depicted the characters moulded character ' s image ; further more, the characters ' language are also very dramatic, we regard simaqian ' s this unique writing method as " dramatic creation writing style "

    作者很喜歡在集中而尖銳的矛盾沖突中展開他的故事；營造極富戲劇性的情景，從中刻畫人物，塑造人物形象；而且，人物的語言也極富戲劇性，對于司馬遷的這種獨特的創作手法，我們稱之為「戲劇性筆法」 。
  18. The focus of the second episode will be a reflection of the threats to personal privacy posed by internet and technological developments. the third episode turns to the employer - employee relationship and explores the extent to which personal privacy is to be respected with regard to work locations. with a macro - perspective, the fourth episode will examine hong kong s progress in the protection of privacy and explore the existing contradiction and balance to be struck between personal privacy and public interests

    一連四集的私隱事件簿透過戲劇與個案演繹，分別反映私隱被侵犯或非法盜取個人資料的各種情況：第一集重點在於消費與商業活動中的私隱問題；第二集將集中反映網上及科技的發展對私隱造成的威脅；第三集討論僱主與雇員之間，在工作地點方面私隱應受尊重的尺度；第四集則從宏觀角度，探索本港在保護私隱方面的進度，及研究私隱與公眾利益之間的矛盾及平衡。
  19. Section 110 ( 5 ) of the united states copyright act, as amended by the " fairness in music licensing act " enacted on 27 october 1998, exempts, under certain conditions, the communication or transmission embodying a performance or display of a work by the public reception of the transmission on a single receiving apparatus of a kind commonly used in private homes ( sub - paragraph a, referred to as " homestyle exemption " ) and, also under certain conditions, communication by an establishment of a transmission or retransmission embodying a performance or display of a non - dramatic musical work intended to be received by the general public ( subparagraph b, often referred to as " business exemption " ) from obtaining an authorization to do so by the respective right holder

    美國版權法110節第5段經1998年10月27日頒布的《音樂許可公平法案》修正，規定了，在一定條件下，傳播或傳送含有公眾可以在一種在私人家庭中經常使用的單一接收裝置上接收到的一件作品的表演或展示（ a小段稱為"家庭免除） ；以及在一定條件下，一個設施傳送或二次傳送旨在讓公眾接收的含有非戲劇音樂作品的表演或展示，可以不必獲得分別的版權持有人的授權。
  20. The author discusses the rationale of rhetorical criticism as the approaches of the cyber study, and demonstrates six rhetorical criticism approaches to analyze the cyber culture, include ： neo - aristotelian criticism 、 generic criticism 、 metaphoric criticism 、 pentadic criticism 、 symbolic convergence theory and fantasy theme criticism 、 feminist criticism

    本文中研究者分別論述了語藝批評方法作為網路文化研究方法的合理性，以及應用語藝批評方法于網路文化研究的六種批評方法，包括：新亞里斯多德批評、類型批評、比喻/暗喻批評、戲劇五因批評、符號輻合理論與幻想主題批評，及女性主義批評。
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