京劇的英文介紹實用教案

1、Origin起源(qyun) 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.雖然它被稱為(chn wi)京劇,京劇的起源不在北京,但在中國東部省

2、份安徽(中國)和湖北省中南部的)。它在很大程度上是由于上升的有利的眼睛和惠顧帝王的版稅。 Peking Opera is a purely Chinese opera form dating back to the year 1790, when the famous Four Anhui Opera Troupes first came to Beijing in celebration of the 80th birthday of Emperor Qianlong (1711-1799) of the Qing Dynasty (1644-1911). The tour was a hi

3、t and the troupes stayed. In 1828, some famous Hubei Opera Troupe players came to Beijing.京劇是一種純粹的戲曲形式,可追溯到1790年,當(dāng)那位有名一年四個安徽歌劇團體第一次來北京的80歲生日慶祝乾隆皇帝1711-1799)的清朝(1644 - 1911)。這次旅行是一擊和劇團留了下來。在1828年湖北劇團,一些著名的球員來到北京。第1頁/共12頁第一頁，共13頁。The artists of Hubei and Anhui troupes often jointly performed on the st

4、age and absorbed repertoires, music, arias and performing techniques of each other and from other operas like Kun Qu, Qin Qiang and Bang Zi, as well as the local dialect and customs of Beijing. Its repertoires mainly depict fairy tales of preceding dynasties and important historical events.湖北、安徽的藝術(shù)家

5、們經(jīng)常聯(lián)合進行劇團在舞臺上和吸收技能、湖北、安徽的藝術(shù)家們經(jīng)常聯(lián)合進行劇團在舞臺上和吸收技能、音樂、詠嘆調(diào)和演唱方法和其他的歌劇音樂、詠嘆調(diào)和演唱方法和其他的歌劇(gj)彼此喜歡姜昆曲、秦羌砰的彼此喜歡姜昆曲、秦羌砰的一聲字一聲字,以及當(dāng)?shù)胤窖缘牧?xí)俗和北京。主要描述其技能的童話故事以前朝以及當(dāng)?shù)胤窖缘牧?xí)俗和北京。主要描述其技能的童話故事以前朝和重要的歷史事件。和重要的歷史事件。It was after 1840 that Peking Opera formally took shape, growing even faster during the reign of the Empress D

6、owager Cixi (1835-1908), who was an opera aficionado. Classic Peking Opera repertoires and the names of the first-generation masters were on the lips of the people in Beijing, and eventually prevalent around the country.這是這是1840年后年后,京劇正式京劇正式初具規(guī)模初具規(guī)模,增長甚至其統(tǒng)治期間增長甚至其統(tǒng)治期間(1835-1908慈禧太后慈禧太后),誰是一個歌劇誰是一個歌劇

7、(gj)的舞迷。經(jīng)典京劇的名字和技能是第一代大師在唇上的人在北京的舞迷。經(jīng)典京劇的名字和技能是第一代大師在唇上的人在北京,并最終并最終在全國流行。在全國流行。第2頁/共12頁第二頁，共13頁。生Sheng: main male role主要男性(nnxng)角色第3頁/共12頁第三頁，共13頁。旦Dan: young and beautiful female年輕(ninqng)、漂亮的女第4頁/共12頁第四頁，共13頁。凈Jing: painted faced maleJing: painted faced male畫面臨(minlng)(minlng)男性第5頁/共12頁第五頁，共13頁。丑

8、 Chou: clown, male or female小丑(xiochu),男性或女性第6頁/共12頁第六頁，共13頁。The status of Beijing Opera京劇(jngj)的地位During the second half of the 20th century, Beijing opera witnessed a steady decline in audience numbers.在上世紀(jì)下半葉的,京劇觀眾目睹了在持續(xù)下降的數(shù)量。This has been attributed both to a decrease in performance quality and

9、an inability of the traditional opera form to capture modern life.這是由于既降低了性能質(zhì)量和無能的戲曲形式來捕捉(bzhu)現(xiàn)代生活。The influence of Western culture has also left the younger generations impatient with the slow pacing of Beijing opera.西方文化的影響也離開了年輕一代的同意太慢了京劇來回踱步。第7頁/共12頁第七頁，共13頁。In response, Beijing opera began to

10、see reform starting in the 1990s.作為回應(yīng),京劇開始看到改革開始于九十年代。Such reforms have taken the form of creating a school of performance theory to increase performance quality, utilizing modern elements to attract new audiences, and performing new plays outside of the traditional canon.這些改革已采取的形式表現(xiàn)的理論創(chuàng)新學(xué)校增加演出質(zhì)量,利

11、用現(xiàn)代元素來吸引新觀眾,以及執(zhí)行新的劇本(jbn)以外的傳統(tǒng)佳能相機。第8頁/共12頁第八頁，共13頁。The development發(fā)展(fzhn) In addition to more formal reform measures, Beijing opera troupes also adopted more unofficial changes. Some of those seen in traditional works have been called technique for techniques sake.除了(ch le)更正式的改革措施,京劇劇團也采用了更多的非官方的

12、變化。所見的一些傳統(tǒng)的工作一直被稱為“技術(shù)為技術(shù)的緣故?！钡?頁/共12頁第九頁，共13頁。 To survive in an increasingly open market, troupes like the Shanghai Jingju Company needed to bring traditional Beijing opera to new audiences.生存在一個不斷開放(kifng)的市場,劇團喜歡上海Jingju公司需要將傳統(tǒng)京劇新觀眾。 To do this, they have offered an increasing number of free performances in public places.為了做到這一點,他們已經(jīng)提供了越來越多的免費表演在公共場合中。第