京剧的英文介绍实用教案

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.虽然它被称为(chn wi)京剧,京剧的起源不在北京,但在中国东部省

2、份安徽(中国)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顾帝王的版税。 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.京剧是一种纯粹的戏曲形式,可追溯到1790年,当那位有名一年四个安徽歌剧团体第一次来北京的80岁生日庆祝乾隆皇帝1711-1799)的清朝(1644 - 1911)。这次旅行是一击和剧团留了下来。在1828年湖北剧团,一些著名的球员来到北京。第1页/共12页第一页，共13页。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、安徽的艺术家

5、们经常联合进行剧团在舞台上和吸收技能、湖北、安徽的艺术家们经常联合进行剧团在舞台上和吸收技能、音乐、咏叹调和演唱方法和其他的歌剧音乐、咏叹调和演唱方法和其他的歌剧(gj)彼此喜欢姜昆曲、秦羌砰的彼此喜欢姜昆曲、秦羌砰的一声字一声字,以及当地方言的习俗和北京。主要描述其技能的童话故事以前朝以及当地方言的习俗和北京。主要描述其技能的童话故事以前朝和重要的历史事件。和重要的历史事件。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.这是这是1840年后年后,京剧正式京剧正式初具规模初具规模,增长甚至其统治期间增长甚至其统治期间(1835-1908慈禧太后慈禧太后),谁是一个歌剧谁是一个歌剧

7、(gj)的舞迷。经典京剧的名字和技能是第一代大师在唇上的人在北京的舞迷。经典京剧的名字和技能是第一代大师在唇上的人在北京,并最终并最终在全国流行。在全国流行。第2页/共12页第二页，共13页。生Sheng: main male role主要男性(nnxng)角色第3页/共12页第三页，共13页。旦Dan: young and beautiful female年轻(ninqng)、漂亮的女第4页/共12页第四页，共13页。净Jing: painted faced maleJing: painted faced male画面临(minlng)(minlng)男性第5页/共12页第五页，共13页。丑

8、 Chou: clown, male or female小丑(xiochu),男性或女性第6页/共12页第六页，共13页。The status of Beijing Opera京剧(jngj)的地位During the second half of the 20th century, Beijing opera witnessed a steady decline in audience numbers.在上世纪下半叶的,京剧观众目睹了在持续下降的数量。This has been attributed both to a decrease in performance quality and

9、an inability of the traditional opera form to capture modern life.这是由于既降低了性能质量和无能的戏曲形式来捕捉(bzhu)现代生活。The influence of Western culture has also left the younger generations impatient with the slow pacing of Beijing opera.西方文化的影响也离开了年轻一代的同意太慢了京剧来回踱步。第7页/共12页第七页，共13页。In response, Beijing opera began to

10、see reform starting in the 1990s.作为回应,京剧开始看到改革开始于九十年代。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.这些改革已采取的形式表现的理论创新学校增加演出质量,利

11、用现代元素来吸引新观众,以及执行新的剧本(jbn)以外的传统佳能相机。第8页/共12页第八页，共13页。The development发展(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,京剧剧团也采用了更多的非官方的

12、变化。所见的一些传统的工作一直被称为“技术为技术的缘故。”第9页/共12页第九页，共13页。 To survive in an increasingly open market, troupes like the Shanghai Jingju Company needed to bring traditional Beijing opera to new audiences.生存在一个不断开放(kifng)的市场,剧团喜欢上海Jingju公司需要将传统京剧新观众。 To do this, they have offered an increasing number of free performances in public places.为了做到这一点,他们已经提供了越来越多的免费表演在公共场合中。第