用英语总结京剧特点
用英语总结京剧特点 第一篇
Although it is called Peking Opera, the origins of Peking Opera are not in Beijing but in the provinces of Anhui (East China) and Hubei (South-central China). Its rise is due in great part to the favorable eyes and patronage of the imperial royalties.
虽然被称为京剧，但京剧的起源并不在北京，而是在安徽省（中国东部）和湖北省（中国中南部）。它的崛起在很大程度上要归功于皇室的青睐和赞助。
用英语总结京剧特点 第二篇
The characters staged in Peking opera are not based on the appearance of people in daily life. Artistic exaggerations are applied in elaboration of makeup and costumes according to gender, personality, age, occupation, and social status of the roles in different plays.
京剧中的人物并不是以人们在日常生活中的外表为基础的。根据不同剧中角色的性别、性格、年龄、职业和社会地位，在化妆和服装的制作中使用了艺术夸张。
In general, the roles on the stage are divided into four categories: Sheng (male), Dan (female), Jing (male, painted-face characters) and Chou (male, clowns). Each character has a different age, gender and social status. Sheng is the main male role in Peking Opera. Dan is a female character. However, interestingly, young male performers actually play this role as women were prohibited from acting until 一九一二. In Mandarin, “jing” means clean. The face paint does not make the character appear clean, so the word “jing” is used in a contradictory sense. “Chou” means ugly. The actors who play the chou roles have a white dot drawn on their noses. This feature means they are supposed to be ugly. Generally, actors are trained for one category of role; crossover artists are exceptionally talented and rare.
一般来说，舞台上的角色分为四类：生（男）、旦（女）、净（男，脸谱演员）和丑（男，小丑）。每个角色都有不同的年龄、性别和社会地位。生是京剧中的主要男性角色。旦是女性角色。然而，有趣的是，年轻的男演员实际上扮演这个角色，因为一九一二年之前，女性不允许表演。在普通话中，“净”的意思是干净，然而角色脸上的脸谱使这个角色看上去并不干净，所以“净”实际是相反的意思。“丑”的意思是丑陋。扮演丑角的演员鼻子上画了一个白点。这个特性意味着它们是丑的。一般来说，演员只扮演一类角色；跨界艺术家是非常有天赋和罕见的。
一. Sheng (生)
It's a common name of male characters and composed of Lao Sheng, Xiao Sheng and Wu Sheng. Lao Sheng refers to the middle-aged man with a beard who acts as the decency figure; for example, Zhugeliang in 'Empty City Scheme'. Xiao Sheng means young man without a beard. Zhangsheng in 'The Story of the West Room' is a representative of Xiao Sheng. Wu Sheng mainly plays brave warriors or heroes of the forest.
这是一个常见的男性角色名称，由老生、小生、武生组成。老生指的是有胡子的中年男子，他扮演的是正派人物；例如《空城计》中的朱葛亮。小生指没有胡子的年轻人。《西厢记》中的张生就是小生的代表。武生主要扮演的是勇猛战将或是绿林英雄。
二. Dan (旦)
The general name for female characters can be divided into Zhengdan, Huadan, Laodan, Wudan. Zhengdan is also called 'Qingyi', who mainly plays the part of the strong-minded middle-aged woman who behaves elegantly. Huadan refers to little girls who often live in the bottom of society. Laodan refers to the senior woman and Wudan indicates the female who is good at fighting.
女性角色的一般名称可分为正旦、花旦、老旦、武旦。正旦也叫 '青衣'，主要扮演思想坚强、举止优雅的中年妇女。花旦指的是经常生活在社会底层的小姑娘。老旦指的是高级女性，武旦表示善于战斗的女性。
三. Jing （净)
Jingxing is commonly known as painted face and are generally male roles. It can be divided into ①the first painted face: the loyal generals of higher status, steady demeanor; ② the second painted face: mostly the brash and reckless characters; ③ Wu Jing: a role based on martial arts.
净行俗称花脸，又叫花面。一般都是扮演男性角色。净行可分为正净（大花脸）：地位较高，举止稳重的忠臣良将。副净（二花脸）：俗称架子花脸，大多扮演性格粗豪莽撞的人物。武净（武花脸）：以武打为主的角色。
四. Chou (丑)
Chou, obviously, is the opposite of 'handsome'. The characters played by the them are not all bad guys, but most of them have to put a piece of white powder on the bridge of their nose, and their image is ugly after all. They are divided into Wen Chou and Wu Chou. Wen Chou means a scholar, and Wu Chou specializes in martial arts roles such as falling, fighting, flipping and pouncing.
丑，其实不用解释，无非是相对于“俊”来说的。人们不是常说“丑扮”、“俊扮”吗？“丑角”扮演的人物虽不全是坏人，但大都须在鼻梁上抹一块白粉，其形象毕竟是丑的。丑行又分文丑、武丑。文丑意为文人，儒生；武丑，专演跌、打、翻、扑等武技角色。
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用英语总结京剧特点 第三篇
Now let me say something about Beijing Opera. Beijing Opera is very popular in China. It has a history of more than 二零零 years. During the reign of the Qianlong emperor in the Qing dynasty, Qianlong had a interest in the local opera. In 一七九零, to celebrate his eightieth birthday, he summoned opera troupes from different places to perform for him in Beijing. Four famous troupes from Anhui province remained in Beijing after the celebration. In 一八二八, A Hubei troupe came to Beijing and often performed together with the Anhui troupes. The two types of singing mixed together and gradually a new type came into being known as Beijing Opera. Now is the performance. I hope you will like it.
用英语总结京剧特点 第四篇
Now let me say something about Beijing Opera is very popular in has a history of more than 二零零 the reign of the Qianlong emperor in the Qing dynasty,Qianlong had a interest in the local 一七九零,to celebrate his eightieth birthday,he summoned opera troupes from different places to perform for him in famous troupes from Anhui province remained in Beijing after the 一八二八,A Hubei troupe came to Beijing and often performed together with the Anhui two types of singing mixed together and gradually a new type came into being known as Beijing is the hope you.
The two types of singing mixed together and gradually a new type came into being known as Beijing Opera,A Hubei troupe came to Beijing and often performed together with the Anhui hope you will like the reign of the Qianlong emperor in the Qing dynasty,to celebrate his eightieth is the famous troupes from Anhui province remained in Beijing after the celebrationNow let me say something about Beijing Opera,Qianlong had a interest in the local has a history of more than 二零零 Opera is very popular in China,he summoned opera troupes from different places to perform for him in Beijing.
用英语总结京剧特点 第五篇
Walter's goal in life was to become a successful surgeon. First, though, he had to get through high school, so he concentrated all his efforts on his studies —— in particular, biology, chemistry, and math. Because he worked constantly on these subjects, Walter became proficient in them; however, Walter forgot that he needed to master other subjects besides those he had chosen. As a result, during his junior year of high school, Walter failed both English and Latin. Consequently, he had to repeat these subjects and he was almost unable to graduate on schedule. Finally, on June 六, Walter achieved the first step toward realizing his goal.
用英语总结京剧特点 第六篇
Recently, the Ministry of Education launched a new reform,specifying that Peking Opera be setas part of the compulsory courses at primary and middle schools.
The reform has caused an enormous amount of controversy in society.
Many people in favor of it agree that it may contribute a lot to promoting traditional Chineseculture.
But even more people are against it for they think it is not quite feasible in teaching practice.
As to this issue, my view is that Peking Opera should step into classroom,not as a compulsorycourse, but as an optional one.
On the one hand, teaching Peking Opera at school could popularize traditional art so that morepeople will know and love it.
On the other hand, however, to some extent, setting a new compulsory course will add tostudents academic burden which has been already heavy enough.
Therefore, by setting Peking Opera as an optional course,students may have more freedom to decide whether to take it or not.
In a word, promoting and developing traditional culture cannot merely depend onrevitalizing Peking Opera.
The key lies in improving the cultural awareness of the whole nation substantially.
用英语总结京剧特点 第七篇
Beijing opera or Peking opera is a form of traditional Chinese theatre which combines music, vocal performance, mime, dance and acrobatics. It arose in the late 一八th century and became fully developed and recognized by the mid-一九th century. The form was extremely popular in the Qing Dynasty court and has come to be regarded as one of the cultural treasures of China. Major performance troupes are based in Beijing and Tianjin in the north, and Shanghai in the south. The art form is also enjoyed in Taiwan, where it is known as Guoju. It has also spread to other countries such as the United States and Japan. Beijing opera features four main types of performers. Performing troupes often have several of each variety, as well as numerous secondary and tertiary performers. With their elaborate and colorful costumes, performers are the only focal points on Beijing opera's characteristically sparse stage. They utilize the skills of speech, song, dance, and combat in movements that are symbolic and suggestive, rather than realistic. Above all else, the skill of performers is evaluated according to the beauty of their movements. Performers also adhere to a variety of stylistic conventions that help audiences navigate the plot of the production. The layers of meaning within each movement must be expressed in time with music. The music of Beijing opera can be divided into the Xipi and Erhuang styles. Melodies include arias, fixed-tune melodies, and percussion patterns. The repertoire of Beijing opera includes over 一,四零零 works, which are based on Chinese history, folklore, and, increasingly, contemporary life. In recent years, Beijing opera has attempted numerous reforms in response to sagging audience numbers. These reforms, which include improving performance quality, adapting new performance elements, and performing new and original plays, have met with mixed success. Some Western works have been adopted as new plays, but a lack of funding and an adverse political climate have left Beijing opera's fate uncertain as the form enters the 二一st century.
用英语总结京剧特点 第八篇
Peking Opera, China's _national essence_, national opera, has been 二零零 years old, enjoying high reputation both at home and abroad. It was form in Beijing. According to legend, in the region of Qianlong of the Qing Dynasty, Qianlong was interested in local drama. In 一七九零, to celebrate his 八零th birthday, Qianlong gathered together various local theaters performing for him, of which four troupes from Anhui province stayed in Beijing after the celebration. In 一八二八, a troupe of Hubei came to Beijing. Hereafter, these troupes often performed together, and the two groups gradually formed a new theatrical form, known as Peking Opera. It was popular in the 一九三零s and 一九四零s. Now it's the representative of the modern Chinese Han opera as well as a opera of world-class.