戏曲的例句大全

Many excellent plays appeared in this period's selection of local operas.

在这次戏曲调演中,涌现出了很多优秀剧目.

There exists universally a happy ending in opera novels after Song Dynasty.

宋以后的戏曲小说中,普遍存在着“大团圆”结局模式.

The orchestra of traditional opera consists of percussion , stringed and wind instruments.

中国古代戏曲伴奏需要文场和武场.

She is the gratuator of Shanghai Traditional Opera School.

上海戏曲学校首届昆剧班毕业女小生.

He also drew Chinese opera figures, nudes and still lives.

他还画戏曲人物画 、 裸女、瓶花静物等.

A theater architect is concerned with the design as It'supports different kinds of artistic productions.

戏院建筑师关心这种设计要能配合各种戏曲的演出.

These three points show the typification of music creation after liberation.

这三个方面的特点突出表现了建国后的戏曲音乐创作十分注重“典型性”.

New dances then came out of both opera dances and folk dances.

中国的新舞蹈艺术,得以从戏曲舞蹈和民间的土壤中滋生出来.

The characters in Chinese opera have distinct roles and personalities.

中国戏曲人物都有独特的个性与角色.

It is actually the earliest extant commentary edition of Chinese traditional opera.

它实际上是现存最早的中国戏曲评点本.

The instrument is usually played to accompany dramas and other performances.

常用于戏曲、曲艺的伴奏,也用于合奏及独奏.

You should learn to use single-morpheme words in Chinese.

摄制组此行的目的是拍摄一部关于中国戏曲的电视片.

These operas are quite different in aria and rhythm.

这些戏曲在唱腔旋律上有着明显的差别.

This book mainly talks about the evolution of traditional Chinese opera.

这本书主要介绍了戏曲艺术的流变历史.

Two-lane structure is the structure of typical model in long classical opera.

双线结构是古典长篇戏曲中的典型结构模式,覆盖深广,影响巨大.

While the Ming Dynasty drama development, but also add the new blood into the color on clothes.

而明代戏曲的发展，也给藏服注入了色彩上的新鲜血液。

The third part elaborates the local opera teaching methods, acquired in the personal teaching practice.

第三部分通过亲身实践山东梆子教学阐述地方戏曲在高校公共艺术课中的教学方法探究.

In this article, the author probes into the narrative art of theatrical TV play, starting from its style, structure and rhythm.

本文从影像艺术的本体出发，从剧情体裁、结构与节奏等方面探讨了戏曲电视剧的叙事艺术。

In Part I, it shows some patterns of this phenomenon; in Part II through induction and collation of phenomena, this paper explains its connotation and finds common rules in it.

论文的第一部分主要是对现象的描述，展示当今戏曲传播中泛娱乐化现象的表现。第二部分，通过对现象进行归纳、整理，阐述该现象的内涵，归纳其普通性规律。

In the end, the thesis treats of some ideas of how to develop opera ousia study.

最后，文末谈了关于如何深化戏曲本体研究的几点思考。