本文關(guān)鍵詞：20世紀(jì)中國(guó)戲劇發(fā)展論綱(下)，由筆耕文化傳播整理發(fā)布。

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    The Development of Chinese Theatre in 20th Century

    20世紀(jì)中國(guó)戲劇發(fā)展論綱(下)

短句來(lái)源

    Wu Quan and Chinese Drama Studies in the 20th Century

    吳瞿安先生和20世紀(jì)的中國(guó)戲劇研究

短句來(lái)源

    Chinese Theatre in the 20th Century; De-construction and Re-construction of Face-painting

    20世紀(jì)中國(guó)戲劇:臉譜的消解與重構(gòu)

短句來(lái)源

    Chinese Theater in the 20~(th) Century: Its Modernization and Localization

    二十世紀(jì)中國(guó)戲劇的現(xiàn)代性與本土化

短句來(lái)源

    The Dramatic Changes in 20~(th) Century Chinese Drama

    滄海桑田:二十世紀(jì)中國(guó)戲劇版圖巨變

短句來(lái)源

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查詢(xún)“20世紀(jì)中國(guó)戲劇”譯詞為用戶(hù)自定義的雙語(yǔ)例句
    我想查看譯文中含有：的雙語(yǔ)例句

為了更好的幫助您理解掌握查詢(xún)?cè)~或其譯詞在地道英語(yǔ)中的實(shí)際用法，，我們?yōu)槟鷾?zhǔn)備了出自英文原文的大量英語(yǔ)例句，供您參考。

  century

Calderón-Zygmund singular integral operators have been extensively studied for almost half a century.

Drug Development in the 21st Century: Medicines, Man and Receptors

THE SHAPE OF MEDICINES TO COME: PHARMACEUTICALS IN THE 21ST CENTURY

The pharmaceutical sciences are advancing rapidly in the post-genomic era of the 21st century with the completion of the human genome, as well as those of many other organisms including bacteria and parasites, and the rapid advances in proteomics.

Pancreatic cancer is not only common, but also extremely difficult to treat, for which it has been called "the challenge of the twenty-first century".

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  th

The iterations start with the window g while the iteration steps comprise the window g, the k-th iterand γk, the frame operators S and Sk corresponding to (g, a, b) and (γk, a, b), respectively, and a number of scalars.

Substituents at the 4th and 5th positions of the target thiazoles were introduced by a Hantzsch reaction, and the chain at the second position was extended through a Sandmeyer reaction, formylation, and Wittig olefination.

Letf∈C[0,1], andBn(f,x) be then-th Bernstein polynomial associated with functionf.

The estimates of the energies (the kinetic and the potential energies) and the γ-th moments with γε[2,3) are obtained.

Furthermore, a class of A-stable 2 parameters hybrid one-step methods of order at least 8 are constructed, which use 4th order derivative.

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  th century

The broad sense of manufacturing theory, which extends the concept of manufacturing, is an important development in the 20th century.

The utilization of vibration and wave, which was developed during the latter half of the 20th century, is one of the most valueable technology applications and has been rapidly developing recently [1-10].

Outstanding Biologist of 20th Century (on the 75th Anniversary of the Birth of Academician V.E.

History of Marine Microbiology in Russia (the Soviet Union) in the Second Half of the 20th Century

Gilyarov's scientific school in the development of the subject and methodology of a new complex discipline formed in the mid 20th century-soil zoology-was considered.

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  st century

Drug Development in the 21st Century: Medicines, Man and Receptors

THE SHAPE OF MEDICINES TO COME: PHARMACEUTICALS IN THE 21ST CENTURY

The pharmaceutical sciences are advancing rapidly in the post-genomic era of the 21st century with the completion of the human genome, as well as those of many other organisms including bacteria and parasites, and the rapid advances in proteomics.

Digital manufacturing-the development direction of the manufacturing technology in the 21st century

Electrochemical science and technology in the 21st century have reached high levels of sophistication.

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The cultural genetic factor of the shamanism has become a kind of the ritual formalism of Chinese traditional opera face-painting. Its characteristics are: non-humanization and anti-nature. The process of modernization oi Chinese traditional opera is a history of that:de-construct face-painting, seek reality, and express human personalities. The development of Chinese modern theatre is restricted by its political and cultural environment, so, face-painting's evolution has its complicated process: deconstruction-reconstruction-re-deconstruction-re-reconstruction....

The cultural genetic factor of the shamanism has become a kind of the ritual formalism of Chinese traditional opera face-painting. Its characteristics are: non-humanization and anti-nature. The process of modernization oi Chinese traditional opera is a history of that:de-construct face-painting, seek reality, and express human personalities. The development of Chinese modern theatre is restricted by its political and cultural environment, so, face-painting's evolution has its complicated process: deconstruction-reconstruction-re-deconstruction-re-reconstruction.

“巫”的文化遺傳基因形成了中國(guó)傳統(tǒng)戲曲臉譜的“非人化”、“反自然”的儀式性形式主義。20世紀(jì)中國(guó)戲劇現(xiàn)代化的過(guò)程也就是消解臉譜、追求真實(shí)、爭(zhēng)取人的個(gè)性立于舞臺(tái)的歷史。中國(guó)現(xiàn)代戲劇的發(fā)展受政治文化生態(tài)的制約,故而臉譜有其消解—重構(gòu)—再消解—再重構(gòu)的曲折復(fù)雜的演化過(guò)程。

The essay is mainly about the development of Chinese theatre in 20th century. It says one of the greatest changes of Chinese theatre is the forming of many new types of theatre. Playwriting and stage performance be in perfect harmony,more importance is attached to politics、moral and realistic theme, are also the great changes of theatre. In 20th century, Chinese theatre become even more outward open than before. After mention these achievements, this essay also gives a lot of difficult problems worth thinking....

The essay is mainly about the development of Chinese theatre in 20th century. It says one of the greatest changes of Chinese theatre is the forming of many new types of theatre. Playwriting and stage performance be in perfect harmony,more importance is attached to politics、moral and realistic theme, are also the great changes of theatre. In 20th century, Chinese theatre become even more outward open than before. After mention these achievements, this essay also gives a lot of difficult problems worth thinking.

本文是整體研究 2 0世紀(jì)中國(guó)戲劇發(fā)展歷程的一種嘗試。在簡(jiǎn)述 2 0世紀(jì)對(duì)中國(guó)戲劇發(fā)展影響最為顯著的事件之后 ,本文指出 ,話(huà)劇、越劇和評(píng)劇等許多新劇種的誕生 ,是本世紀(jì)戲劇進(jìn)程中最重要的變化之一 ;劇本創(chuàng)作與舞臺(tái)演出之間的全面融合 ,作品在思想上更趨重于政治與道德主題、在內(nèi)容上對(duì)現(xiàn)實(shí)題材前所未有的注重 ,都體現(xiàn)出本世紀(jì)戲劇創(chuàng)作的明顯特色 ,戲劇作品整體風(fēng)格上的女性化趨勢(shì)也是值得注意的現(xiàn)象。本世紀(jì)的戲劇發(fā)展還呈現(xiàn)出開(kāi)放的特點(diǎn) ,導(dǎo)致了戲劇觀念的演變與現(xiàn)代劇場(chǎng)制度的引進(jìn)這些深刻影響中國(guó)戲劇發(fā)展方向的變化。最后本文還指出 ,2 0世紀(jì)中國(guó)戲劇在取得了巨大成就的同時(shí) ,也留下許多值得深入思考的難題

Drama and Traditional Chinese opera embody aesthetic difference between “seeking natural” and “seeking happy” by the form of “colloquialism” near to life prototype and by the whole model of “song” distinguished itself by modality. This aesthetic difference not only related closely to each cultural background that Drama and Traditional Chinese opera based on, but also to the different “formal ideology” that they bore. On the other hand, as one kind of structural existence of Chinese drama culture in 20th century,...

Drama and Traditional Chinese opera embody aesthetic difference between “seeking natural” and “seeking happy” by the form of “colloquialism” near to life prototype and by the whole model of “song” distinguished itself by modality. This aesthetic difference not only related closely to each cultural background that Drama and Traditional Chinese opera based on, but also to the different “formal ideology” that they bore. On the other hand, as one kind of structural existence of Chinese drama culture in 20th century, Drama and Traditional Chinese opera, through communicating and impacting ceaselessly dated back to the up-to-date historical coincidence, must go to conformity. However, “conformity” don't predicate to abolish their each art reality of Drama and Traditional Chinese opera, in fact, in a sense of culture-communicating, it represent one kind of logical harmony of aesthetic feeling and mutual function complement. And what is more, just only according to the standpoint beyond difference and conflict, it is possible to establish one kind of drama poetics beyond cultural barrier and a new historical view of modern drama including both Drama and Tradition Chinese opera.

話(huà)劇與戲曲分別以近似生活原型的“白話(huà)”形態(tài)和以程式化為特征的“曲”的體式而體現(xiàn)出兩者“求真”與“求樂(lè)”的審美差異。這種審美差異既與話(huà)劇及戲曲所根植的各自的文化土壤分不開(kāi) ,也與它們所承載的不同的“形式的意識(shí)形態(tài)”有關(guān)。而同時(shí) ,作為 2 0世紀(jì)中國(guó)戲劇文化的一種結(jié)構(gòu)性存在 ,話(huà)劇與戲曲從最初的歷史遇合、經(jīng)不斷地交流碰撞而必然趨于整合�！罢稀辈⒎且馕吨∠�(huà)劇與戲曲各自的藝術(shù)本體性 ,實(shí)則表現(xiàn)出兩者在文化交流的意義上的一種邏輯的、美感的協(xié)調(diào)及功能上的互補(bǔ)。而且正是在文化整合所提供的超越差異與對(duì)立的立場(chǎng)上 ,才有可能建立起一種跨越文化屏障的共同的戲劇詩(shī)學(xué)和包容著話(huà)劇與戲曲的新的現(xiàn)代戲劇史觀。

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  本文關(guān)鍵詞：20世紀(jì)中國(guó)戲劇發(fā)展論綱(下)，由筆耕文化傳播整理發(fā)布。