明代戏曲

明代戏曲明代戏曲
  1. 六要素图式与明代戏曲理论批评论争研究

    On Six-elements Schemata and Dramatic Theory of Ming Dynasty

  2. 明代戏曲文人化的两个方面&重评汤沈之争

    Two sides of scholar drama in the Ming dynasty

  3. 而明代戏曲的发展,也给藏服注入了色彩上的新鲜血液。

    While the Ming Dynasty drama development , but also add the new blood into the color on clothes .

  4. 明代戏曲的文人化进程,不仅体现在戏曲语言文本中,还体现在戏曲插图文本中。

    The literati process of Ming Dynasty operas is reflected in not only the words , but also the illustration .

  5. 词场角力名利之争&述论明代戏曲繁荣的另一个潜在原因

    Wrestling in Play Writing , Fighting for Fame and Fortune & On Another Potential Reason for Opera 's Prosperity in Ming Dynasty

  6. 本文结合文献资料从三个方面总结明代戏曲歌舞的审美特点。

    This article , refering to the relevant literature , generalizes the aesthetic characteristics of dancing and singing of Ming opera from three aspects .

  7. 而以戏曲史的角度来看,弋阳诸腔也处于明代戏曲创作、演出与欣赏的主体地位。

    In the point of view in the history of drama , Yi yang tune-patterns is still the principal part in drama creation , performance and appreciation in Ming .

  8. 第三部分,这种伟大成就对中国戏剧理论的发展、尤其是明代戏曲理论所产生的深远影响。

    The far-reaching effect of this great literature achievement on the development of Chinese traditional opera and especially the theory of Ming Dynasty Chinese Opera is discussed in the third part .

  9. 对越中派的研究,有利于进一步梳理澄清明代戏曲理论史和戏曲文学史发展的脉络和轮廓,并促进人们对该派的了解和发现。

    The research into this school can further crystallize the history of drama theory history of both Qing and Ming Dynasty and promote people 's understanding and discovery of this school .

  10. 但叶昼的批点富有文学批评价值,特别是他的人物论在整个明代戏曲理论批评中比较突出。

    However , Ye 's annotation is of great literary criticism value and his theory concerning the characters remained outstanding in the criticism of traditional Chinese opera throughout the Ming Dynasty .

  11. 家乐&明代戏曲特有的演出场所《红楼梦》中的戏曲迹象及清初家班研究

    Quan Le & the Special Acting Stage of Opera During Ming Dynasty ; The Signs of Opera in a Dream of Red Mansions and Research on Family Opera Troupe in the Begining of Qing Dynasty

  12. 第一章,从戏剧的讽刺传统与明代戏曲的讽刺意识这两方面来考察临川四梦的讽世意识的背景。

    The first chapter reviews the background of the satirical consciousness of " Linchuan Four Dreams " from two sides : the satirical tradition of drama and the satirical consciousness of the dramas in the Ming Dynasty .

  13. 高度系统化的明代戏曲本色说几乎涵盖了古典戏曲理论中所有富含哲学意味和美学意义的命题,并对清代戏曲创作与戏曲理论批评产生了极为深远的影响。

    Moreover , the theory that was extremely systemized also concludes all the subjects with meaning of philosophy and aesthetics in the domain of classical opera theory , and deeply influential in producing and criticizing of the Qing dynasty .

  14. 摘要“关目”是关于戏曲结构情节安排和构思的一个重要概念,是明代戏曲评论家品评元人杂剧和明代传奇时常用的一个术语。

    Plot arrangement and idea in " guan mu " is an important concept about drama structure , and it is the commonly-used term by Ming Dynasty opera critics when they judged the Yuan Zaju and the Ming Dynasty legend .

  15. 大家都想看日本动漫,而不是明代的戏曲。

    They want Manga cartoons , not Ming dynasty drama .

  16. 本文首次集中探讨了明代江南妇女戏曲参与的情况。

    This thesis researches into women ' sparticipation in drama and concentrates on the Jiangnan region during the Ming Dynasty . Firstly , I analyze the way through which women joined the activities of drama .

  17. 明代南京是戏曲表演中心地之一,有宫廷表演机构、民间职业戏班和家班这些表演机构,它们互为补充,共同承载着明代南京的戏曲表演职能。

    Nanjing was one of the drama performance centers in Ming Dynasty . The primary action organizations were the aulic , the professional and the familial organizations . They were complement and bearded playing function together .

  18. 从源流上看,它直接承袭宋元南戏而来,并受到明代弋阳腔戏曲的广泛影响;从文本上看,它既具有浓厚的文学意蕴,又富含生动的舞台效果。

    They directly originated from Nanxi of Song and Yuan , and were extensively affected by Yiyang dramas of Ming . Their texts were not only having strong literary meaning , but also having rich vivid stage effects .

  19. 明代折子戏是中国戏曲从全本戏到折子戏发展的初始阶段,是我们了解折子戏的产生、形成过程的窗口。

    The opera highlights in the Ming Dynasty is the preliminary stage that we can understand the production and forming process of opera highlights .

  20. 论明代中后叶戏曲与白话小说中主人公的补偿心理

    On Compensation psychology of the Main Character in the Traditional Opera and Vernacular Chinese Novel in the Vernacular Chinese Novels in the Late Ming Dynasty

  21. 明代后期,许多戏曲作品极鲜明地表现了女性的独立人格和人生价值,并反映了有关女性的各种社会问题。

    During the late Ming Dynasty , many works of opera distinctively demonstrate individuality and individual value of females and at the same time reveal various social problems concerning women .