京劇相關英語介紹Beijing-Opera

______________________________________________________________________________________________________________精品資料京劇相關英語介紹BeijingOperaFourFamousDanActors四大名旦；StagePropsinPekingOpera京劇道具TypesofFacialMake-upinBeijingOpera京劇臉譜RolesinBeijingOpera京劇的角色；XipiandErhuang西皮和二簧WenchangandWuchang文場和武場；PiaoYouandXiaHai票友和下海LongtaoandFigurant"龍?zhí)住焙汀芭荦執(zhí)住保籕iba“起霸”；Liangxiang“亮相”In1927,anopenselectionofthetopDanactors,sponsoredbytheShuntianTimesnewspaper,waslaunched.Asaresult,MeiLanfang(1894-1961),ShangXiaoyun(1900-1976),ChengYanqiuandXunHuisheng(1900-1968)werethemostoutstandingintheselection,andwerenamedthefourmostfamousDanactorsofPekingOperaatthistime,eachhavinghisownuniquecharacteristicsinregardtoaction,expressionandmusic.Inaddition,eachhadhisownspecialrepertoire,andthesehavebeenhandeddownfromgenerationtogeneration.Eventually,theyformedthefourmainschoolsofPekingOpera.Later,groupsofexcellentyoungactorswereactiveontheoperastages,amongwhomthemostfamouswere:LiShifang,ZhangJunqiu,MaoShilaiandSongDezhu,selectedbytheLiyanNewspaper.Eachofthefourhadhisownspecialrepertoire,andtheirwonderfulperformanceswerewellreceivedbythemass.Eventually,theywererecognizedasthefoursub-leadingDanactorsofPekingOpera.Chinaenteredthemoderneraamidstturbulenceandchangeinthe20thcentury.TheRevolutionof1911putanendtothe2,000-yearruleofthefeudaldynasties.ThustherewasaspateoffamousactorsandactressesandschoolsofPekingOperaintheearlydecadesofthiscentury.

二十世紀20年代年京劇旦行先后成名的四位有代表性的演員：梅蘭芳、尚小云、程硯秋、荀慧生。四大名旦在藝術上不斷進取，表演、唱腔精益求精，各有獨門劇目，蔚成流派。四小名旦繼“四大名旦”以后，二十世紀30年代又有一批旦行演員脫穎而出。1940年，北京《立言報》邀請李世芳、張君秋、毛世來、宋德珠四人合作，在北京新新大戲院演出兩場《白蛇傳》，四個人分演自己擅長的一折戲，各展所長，社會影響強烈。從此即被公認為四小名旦。Asmentionedearlier,specifictypesoffacialmake-upinBeijingOperaareputontheactors'facestosymbolizethepersonalities,characteristics,andfatesoftheroles.Usually,redfaceshavepositivemeanings,symbolizingbrave,faithful,andwisemen.Anotherpositivecolorispurple,whichsignifieswisdomandbravery.Blackfaces,fortheirpart,usuallyhaveneutralmeanings,symbolizingjustbravemen;however,theycanalsorepresentuprightness.Blueandgreenfacesalsohaveneutralmeaningsthatsymbolizetheheroofthebush,withtheformeralsohintingatstrengthandintrepidity.Meanwhile,yellowandwhitefaceshavenegativemeaningsthatsymbolizeferocious,treacherous,andcraftymen.Finally,goldandsilverfacessymbolizemysteriousness,andstandformonsters

or

gods.京劇臉譜，是具有民族特色的一種特殊的化妝方法。由于每個歷史人物或某一種類型的人物都有一種大概的譜式，就像唱歌、奏樂都要按照樂譜一樣，所以稱為“臉譜”。關于臉譜的來源，一般的說法是來自假面具。京劇臉譜，是根據(jù)某種性格、性情或某種特殊類型的人物為采用某些色彩的。紅色有臉譜表示忠勇士義烈，如關羽、妾維、常遇春；黑色的臉譜表示剛烈、正直、勇猛甚至魯莽，如包拯、張飛、李逵等；黃色的臉譜表示兇狠殘暴，如宇文成都、典韋。藍色或綠色的臉譜表示一些粗豪暴躁的人物，如竇爾敦、馬武等；白色的臉譜一般表示奸臣、壞人，如曹操、趙高等。京劇臉譜的色畫方法，基本上分為三類：揉臉、抹臉、勾臉。臉譜最初的作用，只是夸大劇中角色的五官部位和面部的紋理，用夸張的手法表現(xiàn)劇中人的性格、心理和生理上的特征，以此來為整個戲劇的情節(jié)服務，可是發(fā)展到后來，臉譜由簡到繁、由粗到細、由表及里、由淺到深，本身就逐漸成為一種具有民族特色的、以人的面部為表現(xiàn)手段的圖案藝術了。BeijingOpera,alsoknownas"yellowskin"from"XiPi"and"Erhuang"twobasictoneofitsmusicmaterial,andalsotosingtunesinsomeplacessmall(forexample,LiuZicavity,blowingcavity)andKunquQupai.ItwasformedinBeijing,intimebeforeandafter1840,prevalentinthe20thcenturythree,the1940s,whena"nationaldrama,"said.NowitisstillacountrywithgreatinfluenceOperas.It'scomprehensiveandmatureperformance,themomentumofUS-hong,istherepresentativeofmodernChineseopera.ChinaPekingOperaisChina's"nationalessence",has200yearsofhistory.BeijingOperaisseenatthebeginningof2002-Guangxu(1876)"declaration",thehistoryofskinwasyellow,twoyellow,yellowcavity,forBeijing,Pekingopera,Pekingopera,drama,andsothetitle,theQingdynastyQianlong1966(1790)EmblemfourclassesinBeijing,AnhuiandBeijingJutanaftertheKunquopera,HanJu,Yiyang,LuandanOperassuchasthe50'sand60'softhedraw,EvolutionofaPekingOperaisChina'slargestoperaOperas.Itsrepertoireoftherich,asmuchasperformingartists,manycompanies,asmuchastheaudience,theimpactofthedeeparethehighest.BeijingOperaisacomprehensiveperformingarts.Thatis,sing(singing),read(readwhite)anddo(performance),fight(martialarts),dance(dance)fortheintegration,throughtheprogram'sperformancemeansSyria'sstories,characterizationsfigures,theexpression"Hi,anger,sorrow,Lok,Panic,fear,grief,"thethoughtsandfeelings.Rolecanbedividedinto:Health(men),Dan(woman),net(men),ugly(menandwomenboth)four.Zhongjianofthecharacters,BeautyandUglinessofthepoints,goodandevilofthepoints.Theimageclear,lifelike.Stateattachesgreatimportancetotheprotectionofintangibleculturalheritage,May20,2006,PekingapprovedbytheStateCouncilincludedinthefirstbatchofstate-levelintangibleculturalheritage.PekingOperacombinesmusic,acrobaticdance,andspectacularcostumestotellstoriesfromChinesehistoryandfolklore.Usingabstract,symbolicgesturesrichindramaticmeaning,actorsrepresentpersonagesfromtheheroic,divine,andanimalworlds,ofteninmartialexploits.Thetraditionalfeaturesofthemasklikemakeupandelaboratecostumesimmediatelyidentifythecharacterstoaknowingaudience.京劇是地地道道的中國國粹，因形成于北京而得名，但它的源頭還要追溯到幾種古老的地方戲劇。1790年，安徽的四大地方戲班——三慶班、四喜班、春公班和春班──先后進京獻藝，獲得空前成功。微班常與來自湖北的漢調(diào)藝人合作演出，于是，一種以微調(diào)"二簧"和漢調(diào)"西皮"為主、兼收昆曲、秦腔、梆子等地方戲精華的新劇種誕生了，這就是京劇。在200年的發(fā)展歷程中，京劇在唱詞、念白及字韻上越來越北京化，使用的二胡、京胡等樂器，也融合了多個民族的發(fā)明，終于成為一種成熟的藝術。將京劇稱作"東方歌劇"是因為兩個劇種都是集歌唱、舞蹈、音樂、美術、文學等于一體的特殊戲劇形式，在形式上極為類似；同時，在各自不同的文化背景中，它們都獲得了經(jīng)典性地位。象征性格和命運的臉譜在人的臉上涂上某種顏色以象征這個人的性格和品質、角色和命運、是京劇的一大特點，也是理解劇情的關鍵。簡單地講，紅臉含有褒義，代表忠勇者；黑臉為中性，代表猛智者；藍臉和綠臉也為中性，代表草莽英雄；黃臉和白臉含貶義，代表兇詐者；金臉和銀臉是神秘，代表神妖。OperaisthequintessenceofChineseout-and-out,duetotheformationnamedinBeijing,butitalsodatesbacktothesourceofseveralage-oldlocaltheater.In1790,Anhuitroupeoffourplaces-Sanqingclasses,Sixiclassesspringclassesspringclassespublic──hasperformedinBeijing,wasagreatsuccess.MicroclassesareoftenassociatedwithtransferfromtheHaninHubeiProvincetoperformwithartists,therefore,afine-tuning"Erhuang"andHan-tune"Cipri"mainlyintegratedopera,ShaanxiOpera,Bangzishowtheessenceofplacessuchasthebirthofthenewdrama,whichisopera.200yearsinthecourseofdevelopment,theBeijingOpera