本文關鍵詞：假定性、體裁與時空體，由筆耕文化傳播整理發(fā)布。

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戲劇電影與電視藝術

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genre

    Make-Belive, Genre and Spatial-Temporal Structure

    假定性、體裁與時空體

短句來源

    The Characterization Genre and Singing Style of Mozart's Opera: Die Zaubrfl(?)te

    莫扎特歌劇《魔笛》的體裁特點和演唱風格

短句來源

    The drama art in Xinjiang, haw a long history, Each nation created its drama with unique artistic characteristics and styles based on its traditional culture. According to form and genre, the drama is divided into opera, dance drama and local drama. If distingue by national feature and region, I key are Uighur opera, Kazak opera, Sibo opera, melody opera and other local opera from the other pants of China.

    新疆的戲劇藝術具有悠久的歷史,各個民族在自己傳統(tǒng)文化的基礎上創(chuàng)造了獨具藝術特色與風格的民族戲劇,按其藝術形式和體裁劃分有歌劇、舞劇和地方戲曲,以民族特點和地域劃分則有維吾爾劇、哈薩克劇、錫伯劇以及從我國內地傳入新疆的曲子戲和其它地方戲曲。

短句來源

    GENRE FILMS AND THE ATTITUDE OF AUDIENCE

    類型電影與觀眾態(tài)度

短句來源

    Genre Films and Genre Criticism

    類型電影與類型批評

短句來源

    The Definition and Basic Characteristics of Genre Film

    類型電影概念及特征

短句來源

    The American Genre Cinema Trends of the Age of Globalization

    全球化時代美國類型電影的發(fā)展趨勢

短句來源

    Genre Study and Cold War Cinema: Comments on Spy Detection Films of the Seventeen Year Period

    類型研究與冷戰(zhàn)電影:簡論“十七年”特務偵察片

短句來源

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    A View over the Genre of Quyi Tune-patterns from aspects of Local Cultures

    從地域文化看曲藝唱腔流派

短句來源

    The thesis studys a Beijing Opera performance artist—Fang-rongxiang takings a kind of cultual phenomenon—genre as a point of penetration.

    本論文以一種文化現象——流派作為切入點,對一個京劇表演藝術家進行研究探討。

短句來源

    Fang-rongxiang’s innovation and creating of traditional drama had suited audience’s asthetic standards of new era, this had furnished a lively example for carrying on and carrying forward the genre in artistic practice;

    方榮翔對傳統(tǒng)戲的革新和創(chuàng)造更加適應了新時代觀眾的審美要求,這在藝術實踐上為繼承和發(fā)展流派提供了一個鮮活的例證;

短句來源

    Fang-rongxiang had contributed to popularity and spread of artistic genre and furnished successful experience.

    方榮翔在藝術流派普及傳承方面作出了重要貢獻,并提供了成功的經驗。

短句來源

    Secondly, Chinese opera movies has its characteristics while it shares the commonness as a genre of film art.

    第二,戲曲電影既表現出它之作為一種電影藝術的廣泛的共性,更體現出戲曲電影之作為戲曲電影的獨特的個性。

短句來源

    Myth——The Retaining and Innovation of Genre——The Transtextual Study of The High Noon and Swordsman of Double Flag Town

    神話——類型的固守與超越——《正午》與《雙旗鎮(zhèn)刀客》的互文性研究

短句來源

    Wuju Opera: Tunes and Genre of Drama

    婺劇:腔調與劇種

短句來源

    "Red Genre" in the Age of Innocence

    純真年代里的“紅色類型片”——重讀“十七年”抗戰(zhàn)電影

短句來源

    Call back the Genre and Outdoing: The Butterfly Effect

    類型的超越與回歸:《蝴蝶效應》

短句來源

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  genre

Avec un appareil de ce genre on peut étudier les paramètres des colonnes afin de pouvoir juger de leurs performances.

The result shows evidence to the fact that political diagnoses are a special genre of scientific discourse.

Vor allem in unfreien Gesellschaften erlaubt zum Beispied das Genre Feuilleton eigenwilligen und sp?ttischen Einspruch gegenMachthaber und Systeme.

Aus pragmatischen Gründen beschr?nkt sich die Untersuchung auf das Genre ?Nachrichten? und hier stellvertretend auf eine ?ffentlich-rechtliche (?Tagesschau?) und eine private Nachrichtensendung (?RTL aktuell?).

Die Rezension ist im Jahre 2003 immer noch unangefochten das h?ufigste Genre im Feuilleton.

更多          

As a literaty genre strictly resthcted by tlnlc alld plilce, dnlma distillguishes itself for [is ullique~ye devices. This anicle gives all analysis of' some representative dramatic works alld proPOses to cliLssil'ydonatic nan-ators, intermediaries of the audience alld the story, itlto tllrec types: the aptylrent narnltor, themulhedimensional nrer and the neutral narrator. It concludes that the chilngcs in dramatic 11arrutlon is tile res[lltof hisbocal inheri~e and develOPment alld the changes satisIY the...

As a literaty genre strictly resthcted by tlnlc alld plilce, dnlma distillguishes itself for [is ullique~ye devices. This anicle gives all analysis of' some representative dramatic works alld proPOses to cliLssil'ydonatic nan-ators, intermediaries of the audience alld the story, itlto tllrec types: the aptylrent narnltor, themulhedimensional nrer and the neutral narrator. It concludes that the chilngcs in dramatic 11arrutlon is tile res[lltof hisbocal inheri~e and develOPment alld the changes satisIY the nceds of the times and bring about betteraesthehc effeCts.

戲劇作為一種受時間和空間嚴格限制的文學體裁，在敘述方式上有其獨特之處，最明顯的是表現在敘述者的設置上。文章通過對新時期戲劇代表作的分析，提出作為現眾與故事中介的敘述者可歸納為明顯的敘述者、多元敘述者、中性敘述者三類．新時期戲劇敘述者設置的這種變化是歷史的繼承與發(fā)展，不僅契合時代的要求，而且能夠收到更好的美學效果．

Having culturally analysed the two genres of "Rustic Films "and "Urban Films", the paper presents the characteristics of Chinese Neo - Realistic Film in the 1990's; (1)an orientation of selecting a subject to look real life in the face and inclination to choose folk materials, (2) a humanistic ideal that attempts to bridge tradition and modernity, (3) an implementation of popular artistic tactics to suit pop culture trends at that time. On one hand, Chinese Neo - Realistic Films adheres to the artistic...

Having culturally analysed the two genres of "Rustic Films "and "Urban Films", the paper presents the characteristics of Chinese Neo - Realistic Film in the 1990's; (1)an orientation of selecting a subject to look real life in the face and inclination to choose folk materials, (2) a humanistic ideal that attempts to bridge tradition and modernity, (3) an implementation of popular artistic tactics to suit pop culture trends at that time. On one hand, Chinese Neo - Realistic Films adheres to the artistic nature of all film, on the other hand, it tries to extend into the range of mirroring the many facets of real life.

文章對于九十年代中國的新寫實電影從“鄉(xiāng)村電影”、“城市電影”的二翼進行文化分析。闡述新寫實電影:①直面現實生活的民間化題材取向;②企望溝通傳統(tǒng)與現代的人文主義懷想;③適應大眾文化時代的通俗化藝術策略。其思潮既是試圖回歸本體、尋求電影就是電影的自律運動;又是拓展電影表現視界,探尋藝術/文化精神新跨越的主體自覺運動。

In China, there is a huge system of traditional operas. The reason why we have so many local operas is that China pocesses a vast territory, various nations, abundant folknays, complex dialects and a long-standing history. There were 360 genves throughout the country by the general survey in 1984. Among them, nine were big transregional genres. Most genres have their own ranges except that the Beijing Opera disperses all over the country. The major regional divergence of China's traditional operas...

In China, there is a huge system of traditional operas. The reason why we have so many local operas is that China pocesses a vast territory, various nations, abundant folknays, complex dialects and a long-standing history. There were 360 genves throughout the country by the general survey in 1984. Among them, nine were big transregional genres. Most genres have their own ranges except that the Beijing Opera disperses all over the country. The major regional divergence of China's traditional operas is "gentle in the South while firm in the North."The art of our traditional operas is complex as well as integrative. The indication of its integrity is the philosophy of "the integrity with being and nihility", the artistic connotation of high synthesis, and the rich performing technigue.

我國有龐大的戲曲體系。地域遼闊，民族眾多，，民俗豐富，語言復雜，歷史悠久，是我國戲曲種類繁多的原因。１９８４ 年普查全國有３６０ 個劇種。其中，跨省區(qū)的大劇種９ 個。除京劇分布于全國以外，多數劇種有專門的分布地域。南柔北剛是我國戲曲藝術的主要地域差異。我國戲劇藝術既有復雜性一面，又有統(tǒng)一性一面。統(tǒng)一性的表現是“有無統(tǒng)一”的哲理觀，高度綜合的藝術內涵，豐富多彩的表演技巧。

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  本文關鍵詞：假定性、體裁與時空體，由筆耕文化傳播整理發(fā)布。