本文關(guān)鍵詞：時(shí)間和空間:戲劇的原型結(jié)構(gòu)，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(shù)

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time and space

    Time and Space in Theatre

    戲劇時(shí)空的自由境界

短句來(lái)源

    Outsider in the Fragmentary Time and Space——The Modernistic Style of Wong kar-wai's Films

    破碎時(shí)空中的異鄉(xiāng)人——王家衛(wèi)電影的現(xiàn)代主義風(fēng)格

短句來(lái)源

    Cutting through the Time and Space of Movie Images ——The Wandering Fifth Generation

    穿越影像的時(shí)空——瞻前顧后第五代

短句來(lái)源

    Cultural Connotation in the Interlacement of Time and Space——On narrative time and space in films and telefilms

    時(shí)空交錯(cuò) 文化蘊(yùn)涵——論影視劇的敘事時(shí)空

短句來(lái)源

    Time and Space of the Cultural Paradox and Post-Modernism:A Cultural Study on A Modern Play of Journey to the West in Terms of Time and Space

    文化悖論時(shí)空與后現(xiàn)代主義——電影《大話西游》的時(shí)空文化研究

短句來(lái)源

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    Time and Space:The Original Structure of Drama

    時(shí)間和空間:戲劇的原型結(jié)構(gòu)

短句來(lái)源

    The purpose of this study is to show archetypal struction of drama from time and space.

    戲劇是一種時(shí)空復(fù)合藝術(shù) ,戲劇的原型結(jié)構(gòu)是通過(guò)時(shí)間和空間展開的。

短句來(lái)源

    The light can present itself for our appreciation,and can incarnate the characteristics of the picture in time and space.

    光線可以進(jìn)行審美觀照和審美欣賞 ,能體現(xiàn)畫面時(shí)間和空間上的特征。

短句來(lái)源

    Shifts in time and space in film,a comprehensive art in this regard,are of great potential because they contain the profundity of indigenous culture.

    電影作為時(shí)間與空間的綜合藝術(shù),時(shí)間的流變和空間的轉(zhuǎn)換在電影中都有著無(wú)窮的潛力,且這種流變與轉(zhuǎn)換攜帶著深厚的本土文化蘊(yùn)涵。

短句來(lái)源

    With analyzing point of view , time and space structure of "poetic being" in Movie & TV Drama, this paper presents consistency of point of view, complete configuration of image’s time and space in audience's imagination and relevant conclusions as following: Firstly, we should keep consistency of the point of view in a certain section by specifying the image’s style and the identity of the hidden observers.

    全文以影視劇的“詩(shī)性情境”為對(duì)象,著重分析其視點(diǎn)、時(shí)間結(jié)構(gòu)、空間結(jié)構(gòu)等,提出了視點(diǎn)的一致性問(wèn)題,影像的時(shí)間與空間如何在觀者的想象中最終完成自身完整形態(tài)的問(wèn)題,以及相關(guān)的解決方案:明確視點(diǎn)后隱匿的觀察者的身份,參照具體影像風(fēng)格,保持某一段落視點(diǎn)的一致性;

短句來(lái)源

    Chinese traditional way of Composting a picture , perspective ,changing sight and unlimited time and space have instructional meaning on shooting.

    在中國(guó)傳統(tǒng)繪畫中，，構(gòu)圖、布局不拘于特定時(shí)間與空間、散點(diǎn)透視法以及移步換景對(duì)DV的動(dòng)態(tài)拍攝有著指導(dǎo)意義。

短句來(lái)源

    The Third Time and Space:Lost

    論《迷失》時(shí)空中的第三種狀態(tài)

短句來(lái)源

    But one thing we certainly believe that whatever the changes of patterns will take place in the stage art of theatre, The drama which is performing publicly and seeing and performing at the same time will still keep its unreplaceable charming,only the conceptions of time and space have been new connotation and denotation.

    但有一點(diǎn)我們可以肯定,不論舞臺(tái)戲劇形態(tài)怎樣改變,當(dāng)眾表演、觀演共時(shí)的戲劇仍將有著不可替代的魅力,只是空間與時(shí)間的概念已經(jīng)有了新的內(nèi)涵和外延。

短句來(lái)源

    In classical Chinese drama scripts, there occurred the personified time, with personal features by artistic mutual communication with the characters of the play and thus another amusing aspect of time culture provides us an opportunity to see some things in human nature beyond the limitation of time and space.

    在中國(guó)古典戲劇文本中,有一些時(shí)間人性化的例子,這體現(xiàn)了中國(guó)古典戲曲中的時(shí)間文化審美的另一個(gè)層面,具有鮮明的民族文化特色和時(shí)代特色。

短句來(lái)源

    It,combined changeable elements in time and space,broke the traditional way of narration.

    打破傳統(tǒng)的敘事結(jié)構(gòu),鏡頭在時(shí)間、空間上的跳躍多變。

短句來(lái)源

查詢“time and space”譯詞為用戶自定義的雙語(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?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。

  time and space

Third, ecological water requirements are related to a multiple system including water quality, water quantity, and time and space, which interact with each other.

The difference approximation in time and space of the original continuous equations (Part I) was discussed.

The cases in which (1) time-changes in oil saturation can be neglected and (2) pressure and oil saturation distributions in time and space described by a common system of differential equations are studied separately.

Parameter variability related to changes in environmental quality in time and space was analyzed.

Rotation of the flow structure behind the shock wave relative to the axis of symmetry was observed as the flow pattern develops in time and space.

更多          

Based on "The Function and Development of Stage Lighting", the article discusses the final chapter of the history of the development of stage lighting, mean while pointing out the five stages in stage lighting ; 1. Lighging is "lightening" ;2. The beginning of controlled lighting; 3. Natural fantasy ; 4. expressing the internal sentiments ; 5. Going towards the era of lighting. Selected from the fifth chapter, the article depicts a glorious era of lighting from stage lighting and its musicality, the changing...

Based on "The Function and Development of Stage Lighting", the article discusses the final chapter of the history of the development of stage lighting, mean while pointing out the five stages in stage lighting ; 1. Lighging is "lightening" ;2. The beginning of controlled lighting; 3. Natural fantasy ; 4. expressing the internal sentiments ; 5. Going towards the era of lighting. Selected from the fifth chapter, the article depicts a glorious era of lighting from stage lighting and its musicality, the changing time and space in stage,lighting designers in active and three-dimensional lighting and the function and application of large-scale art projects in stage lighting, ect.

作者近作《舞臺(tái)燈光的作用與發(fā)展》,系統(tǒng)而完整地論述了在戲劇歷史長(zhǎng)河中舞臺(tái)燈光經(jīng)歷的五個(gè)發(fā)展階段:1.照明即“照亮”;2.可控光的啟蒙;3.表現(xiàn)自然幻覺;4.抒發(fā)內(nèi)在情感;5.走向光景時(shí)代。此處選登其中的第五章節(jié),全文從舞臺(tái)燈光與音樂(lè)性;塑造多變的舞臺(tái)時(shí)空;照明設(shè)計(jì)家對(duì)於動(dòng)態(tài)的立體照明的思考與實(shí)踐;新興的大型藝術(shù)工程中舞臺(tái)燈光的作用與應(yīng)用等方面論述了當(dāng)代舞臺(tái)美術(shù)正走向輝煌燦爛的光景時(shí)代。

Wang Xiaoying has indefatigably probed into the inherent laws and unique aesthetic quality of the stage hypothesis as an artistic medium of directors. By bringing out the latent potential of the stage hypothesis. Wang Xiaoying has been pursuing new narrative techniques which go beyond considering the stage hypothesis only as a means of breaking through representationally dramatic time and space.

王曉鷹不懈探索著作為導(dǎo)演創(chuàng)作手段的“舞臺(tái)假定性”的內(nèi)部規(guī)律和審美特質(zhì)。通過(guò)對(duì)“舞臺(tái)假定性”的潛能的開發(fā),尋找一種超越僅僅把“舞臺(tái)假定性”視作是突破寫實(shí)的戲劇環(huán)境時(shí)空手法的新的舞臺(tái)敘述方法。

The scence factuality,which concretely means real time and space,real news incidents and people relations,is an absolutely necessary pursuit of TV news.A TV news reporter must abide by the principle of factuality and adopt various means,including the means of concealed interview to realize scene factuality.

情境真實(shí)是電視新聞的必然追求 ,它的具體內(nèi)涵包括時(shí)空環(huán)境以及特定的新聞事件和人物關(guān)系。電視記者必須恪守真實(shí)理念 ,捕捉一切有用的信息 ,靈活采用包括隱性采訪手段在內(nèi)的多樣方法以實(shí)現(xiàn)情境真實(shí)

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  本文關(guān)鍵詞：時(shí)間和空間:戲劇的原型結(jié)構(gòu)，由筆耕文化傳播整理發(fā)布。