戏曲舞台

舞台科技是戏曲舞台设计教学改革的强劲助力

Stage Technique Serves as the Strong Support for the Teaching Reform of Chinese Opera Stage Design

中国戏曲舞台上搬演莎士比亚在20世纪80年代以后蔚然成风。

Adapting the William Shakespeare to Chinese opera stage in the 1980s is to become common practice .

论中国传统戏曲舞台实践的近代变革

Pre-Modern Reformation of the Stage Practice in Chinese Traditional Theatre

从空间感知理论谈中国传统戏曲舞台空间

An Analysis of Stage Space in Chinese Opera from Space Perception Theory

抒情性是戏曲舞台艺术的本质特征。

Emotional expression is an intrinsic nature of the art of traditional opera .

传统戏曲舞台美术是戏曲演出中各种造型因素的统称。

The traditional drama satge art is various shape factor to know together as in the drama performance .

经过历史的积淀、艺术的磨砺在中国戏曲舞台上放射出独特的文化光芒。

Through the accumulation of history , art tempered shine on stage in Chinese opera unique cultural light .

自元至清，水浒题材戏剧一直活跃在中国的戏曲舞台上。

From the Yuan Dynasty to Qing Dynasty , Outlaws of the Marsh drama had been prevailing in the Chinese drama stage .

九成以上的入选节目都是新人新作，且是我市群文戏曲舞台上的精品佳作。

Jiucheng selected above are the new new work program , and is the city 's group stage , the excellent text of opera masterpiece .

杨景贤的大型连台本杂剧《西游记》将民间流传的唐僧西天取经故事搬上戏曲舞台。

For the first time , Yang Jingxian 's fullength drama with many acts adapted from the folktale of the Tang monk acquiring scriptures was put on the stage .

元杂剧在元末开始衰微，在戏曲舞台上逐渐被南戏和明传奇所取代。

Yuan Za Ju began to decline in late Yuan dynasty , and were gradually replaced by Nanxi Drama and Chuanqi Drama of Ming dynasty ( Ming Chuanqi ) .

此鞋外面用白色布面，上绣蓝色的水波纹和绿色的蝙蝠及牡丹花，寓意福贵花开，多用于戏曲舞台上穿用。

This shoe uses white cloth upper with embroidered blue water wave and green bits and peony flowers , which means blessing and richness , mostly used on opera stage .

王实甫《西厢记》自元代问世以来，倍受人民的喜爱，在戏曲舞台上长演不衰。

Ever since it was published during the Yuan Dynasty , Romance of West Chamber by Wang shifu has enjoyed tremendous popularity among people and been frequently performed on stage for centuries .

但到了清康乾时因经济繁荣、官僚贵族的享乐思想等原因，家班重新活跃在戏曲舞台上。

However , in the periods of Kangxi and Qianlong , family opera troupes became active again in the opera stage , because of economic prosperity , the pleasure-seeking of bureaucrats and noblemen and other reasons .

文章分析了戏曲舞台时空超越性的表现特征，指出它不仅是一种结构方法，同时也是一种演剧主张；

The article carries on the analysis to the transcendent performance characteristics of space and time of drama on stage and points out that it is not just a type of structure method and histrionic preposition .

受传统礼教的影响，中国戏曲舞台上一向遵循着男扮女装的规则。

When Chinese films were just beginning ， as in plays influenced by traditional doc-trine , there was a rule against female performers sharing the stage with male performers , so female roles were played by male actors .

这三位女性形象在戏曲舞台上虽有相当高的地位，但目前还没有对具体戏曲作品中的这三位女性的舞台艺术形象进行比较研究的文章。

The three female images own quite high status on the chinese traditional opera stage , but there is still no comparison study articles between the three females ' stage artistic image in specific the chinese traditional opera works .

原先活跃在温州戏曲舞台上的昆剧、乱弹传统剧种剧班虽呈衰落之势，但仍有一定演出实力和市场影响力，并与新兴剧班展开市场争夺战。

Previously active in Wenzhou , Kun opera stage and Luan Tan despite the decline of traditional opera opera trend , but still had a certain strength , performance and market impact and their troups started to battle with the emerging for market share .

明人高濂突破前人窠臼，采用喜剧的形式将其改编为《玉簪记》传奇后，该剧便风靡大江南北，至今仍活跃在戏曲舞台上。

Since Gao Lian , who lived in Ming dynasty , broke through the predecessor pattern , used the comedy form reorganized it to The Jade Hairpin , this play then was all the rage the whole country , until now still enlivened in the drama stage .

然而，对戏曲舞台色彩选择的研究仍停留在红表忠勇、黑显刚直之类的现象描述上，至于决定京剧色彩选择的文化内涵则少有提及。

However , on the study of the color stage choosing is still in the description of the phenomenon such as red shows faithful brave , black shows firm and white shows treacherous . As for the determination of the Peking Opera color choice is not mentioned frequently .

从元杂剧公案戏的音乐、装扮、舞台表演三个方面入手，关注到了以前学界较少关注的戏曲舞台实际演出领域，对当时元杂剧音乐的宫调、板拍进行了考察。

From the Yuan Drama music , dress , stage performance of the three-pronged approach , attention to the opera stage before the actual performance in the field of academia less attention on the music tune of the Yuan Drama was transferred , the board took were studied .

借助戏曲舞台演出的优势，水浒戏扩大了接受者的范围，促进了《水浒传》文本的广泛传播。第四章，主要论述了明清时期《水浒传》曲艺传播。

With the advantage of theatrical drama , " The Water Margin Play " expands the scope of the recipients , and also to promote the spread of " Water Margin " . Chapter IV mainly discusses the " Water Margin " folk art of Ming and Qing Dynasties .

中国传统戏曲的舞台服装。

The stage clothing of Chinese opera .

论戏曲丑角的舞台特征和舞台功能

On Drama Clown 's Stage Characteristic and Stage Function

戏曲与话剧舞台灯光的形式创新研究

Research on Creation of Shape about the Stage Lighting of Opera and Drama

中国传统戏曲对话剧舞台艺术的影响改革开放以来，剧院国际艺术交流活动得到广泛的拓展。

Impact of the Traditional Theatre on Spoken Drama Since the Chinese reform CNO enhanced her international arts exchange .

通过对戏曲与话剧舞台灯光形式创新的研究，总结出它们的灯光形式特点与形式创新规律。

Through the innovative research on opera and drama stage lighting forms , I have summed up the characteristics of their light forms and the discipline of their form innovation .

元杂剧公案戏的艺术技巧，除了文本方面值得我们继续深入外，其作为戏曲艺术的舞台表演技巧也是值得我们挖掘的。

Yuan detective drama artistic skills , in addition to the text we continue to thoroughly deserves respect , but their performance skills as a stage drama art is also worth mining .

本文认为，李渔的戏曲本位思想是舞台、娱乐、观众三位一体的，其剧本便是这种思想的完美体现。

This article think Li Yu 's selfish departmentalism is a trinity of stage , amusement and audience , and his dramas were the perfect presentation of this theory .

左翼话剧结构类似于传统戏曲的开放式舞台观念，演讲式的表演形式；多元视界的缺失有类于传统戏曲的地方，而不仅仅是国际左翼的影响。

Left drama structure similar to the traditional opera stage open concept , a lecture-performance forms . Lack of a pluralistic vision of the traditional local opera , and not just the impact of the international left .