1) Drama essence view
戏曲本质观
2) The substance of traditional chinese opera
传统戏曲本质
3) idea on opera
戏曲观念
1.
In fact, this publication of opera texts developed with the changes in the idea on opera, and their relation can be described as transactive.
事实上,民国前后戏曲文本的刊印活动正是伴随着戏曲观念的变化而展开的,甚至是互动的。
4) perception of drama
戏曲观
1.
Tang Xianzu s perception of human nature determines his emphasis on emotion and truth in his perception of drama.
汤显祖的人性观决定了其戏曲观的重心是情与真。
5) theatre audience
戏曲观众
1.
Chinese theatre audiences persue moderate beauty and happy ending, which has a profound and farreaching source of history and society.
中国戏曲观众追求中和之美与大团圆 ,具有深远的历史和社会渊源 ,在戏曲欣赏中具有强烈的、多方面表现 ,对于中国戏曲的某些特色有决定作用 。
6) opera anthologies
戏曲选本
1.
The Qing Dynasty saw the transformation of the traditional opera anthologies,which showed the following characteristics:the retreat of the culture class—men of letters,the decline of Kunqiang anthologies accompanied with the flourish of local operas,and the regression of anthologies toward the performance of people.
清代是古代戏曲选本发展的转型时期,主要有三个特征：文人文化层的退场、昆腔选本的衰变和花部诸腔选本的崛起,体现了戏曲选本向民间立场的回归。
补充资料：不自观音，以观观者
【不自观音，以观观者】
不自观音者，谓不随声尘所起知见也。以观观者，谓返照自性也。不起知见，则无所妄；返照自性，则一切真寂，无复苦恼。故令受苦众生，蒙此真观，即得解脱，是为无畏。经云：观其音声，即得解脱。是也。
不自观音者，谓不随声尘所起知见也。以观观者，谓返照自性也。不起知见，则无所妄；返照自性，则一切真寂，无复苦恼。故令受苦众生，蒙此真观，即得解脱，是为无畏。经云：观其音声，即得解脱。是也。
说明：补充资料仅用于学习参考，请勿用于其它任何用途。
参考词条