京劇老生英語怎麼翻譯
⑴ 有啥關於京劇的簡短英文介紹
Peking Opera, once called pingju, is one of the five major operas in China.
（京劇，曾稱平劇，中國五大戲曲劇種之一。）
The scene layout pays attention to freehand brushwork, tone to xipi, erhuang mainly, with the accompaniment of huqin and gongs and drums.
（場景布置注重寫意，腔調以西皮、二黃為主，用胡琴和鑼鼓等伴奏。）
Regarded as the quintessence of Chinese culture, Chinese opera tops the list.
（被視為中國國粹，中國戲曲三鼎甲「榜首」。）
Hui opera is the predecessor of Peking Opera.
（徽劇是京劇的前身。）
From 1790, the 55th year of qianlong of the qing dynasty.
（清代乾隆五十五年（1790年）起。）
The former three qing, four xi, chuntai and hechun in the south, the four hui classes came to Beijing one after another.
（原在南方演出的三慶、四喜、春台、和春， 四大徽班陸續進入北京。）
They collaborated with han singers from hubei province.
（他們與來自湖北的漢調藝人合作。）
At the same time, he also accepted some plays, tunes and performing methods of kunqu opera and qinqiang opera.
（同時又接受了崑曲、秦腔的部分劇目、曲調和表演方法。）
It absorbed some local folk tunes and formed Beijing Opera through continuous communication and integration.
（吸收了一些地方民間曲調，通過不斷的交流、融合，最終形成京劇。）
After its formation, Peking Opera began to develop rapidly in the qing court.
（京劇形成後在清朝宮廷內開始快速發展。）
Until the republic of China achieved unprecedented prosperity.
（直至民國得到空前的繁榮。）
京劇表現手法：京劇表演的四種藝術手法：唱、念、做、打，也是京劇表演四項基本功。唱指歌唱，念指具有音樂性的念白，二者相輔相成，構成歌舞化的京劇表演藝術兩大要素之一的「歌」，做指舞蹈化的形體動作，打指武打和翻跌的技藝，二者相互結合，構成歌舞化的京劇表演藝術兩大要素之一的「舞」。
戲曲演員從小就要從這四個方面進行訓練，雖然有的演員擅長唱功（唱功老生），有的行當以做功（花旦）為主，有的以武打為主（武凈）。
但是要求每一個演員必須有過硬的唱、念、做、打四種基本功。只有這樣才能充分地發揮京劇的藝術特色。更好地表現和刻畫戲中的各種人物形象。京劇有唱，有舞，有對白，有武打，有各種象徵性的動作，是一種高度綜合性的藝術。
⑵ 京劇英文簡介
Peking Opera, once called pingju, is one of the five major operas in China.
（京劇，曾稱平劇，中國五大戲曲劇種之一。）
The scene layout pays attention to freehand brushwork, tone to xipi, erhuang mainly, with the accompaniment of huqin and gongs and drums.
（場景布置注重寫意，腔調以西皮、二黃為主，用胡琴和鑼鼓等伴奏。）
Regarded as the quintessence of Chinese culture, Chinese opera tops the list.
（被視為中國國粹，中國戲曲三鼎甲「榜首」。）
Peking Opera travels all over the world, with Beijing as the center and throughout China.
（京劇走遍世界各地，分布地以北京為中心，遍及中國。）
It has become an important medium to introce and spread traditional Chinese art and culture.
（成為介紹、傳播中國傳統藝術文化的重要媒介。）
On November 16, 2010, Beijing Opera was listed in the representative list of world intangible cultural heritage.
（在2010年11月16日，京劇被列入「世界非物質文化遺產代表作名錄」。）
(2)京劇老生英語怎麼翻譯擴展閱讀
京劇行當分類：
1，生
除了花臉以及丑角以外的男性正面角色的統稱，分老生（又分重唱的安工老生，重做的衰派老生，重武的靠把老生）、武生（分長靠武生、短打武生並應工猴兒戲）、小生（分扇子生、雉尾生、窮生、武小生） 、紅生 、娃娃生。
2，旦
女性正面角色的統稱，分青衣（正旦）、花旦、閨門旦、刀馬旦、武旦、彩旦。
3，凈
俗稱花臉，大多是扮演性格、品質或相貌上有些特異的男性人物，化妝用臉譜，音色洪亮，風格粗獷。「凈」又分為以唱功為主的大花臉，分正凈（重唱功，稱銅錘、黑頭）、架子花（重工架）、武二花、摔打花、油花（一稱毛凈）。
4，丑
扮演喜劇角色，因在鼻樑上抹一小塊白粉，俗稱小花臉。分文丑（分方巾丑、袍帶丑、老丑、榮衣丑，並兼演彩旦、婆子）、武丑（又稱開口跳）等。各個行當都有一套表演程式，在唱念做打的技藝上各具特色。
⑶ 急求京劇專業詞彙翻譯
Sheng
The Sheng (生) is the main male role in Beijing opera. This role has numerous subtypes. The laosheng is a dignified older role. These characters have a gentle and cultivated disposition and wear sensible costumes. One type of laosheng role is the hongsheng, a red-faced older male. The only two hongsheng roles are Guan Gong, the Chinese God of War, and Zhao Kuang-yin, the first Song Dynasty emperor. Young male characters are known as xiaosheng. These characters sing in a high, shrill voice with occasional breaks to represent the voice changing period of adolescence. Depending on the character's rank in society, the costume of the xiaosheng may be either elaborate or simple. Off-stage, xiaosheng actors are often involved with beautiful women by virtue of the handsome and young image they project.The wusheng is a martial character for roles involving combat. They are highly trained in acrobatics, and have a natural voice when singing.Troupes will always have a laosheng actor. A xiaosheng actor may also be added to play roles fitting to his age. In addition to these main Sheng, the troupe will also have a secondary laosheng.
Dan
The Dan (旦) refers to any female role in Beijing opera. Dan roles were originally divided into five subtypes. Old women were played by laodan, martial women were wudan, young female warriors were madan, virtuous and elite women were qingyi, and vivacious and unmarried women were huadan. One of Mei Lanfang's most important contributions to Beijing opera was in pioneering a sixth type of role, the huashan. This role type combines the status of the qingyi with the sensuality of the huadan.A troupe will have a young Dan to play main roles, as well as an older Dan for secondary parts.Four examples of famous Dans are Mei Lanfang, Cheng Yanqiu, Shang Xiaoyun, and Xun Huisheng.[52] In the early years of Beijing opera, all Dan roles were played by men. Wei Changsheng, a male Dan performer in the Qing court, developed the cai ciao, or "false foot" technique, to simulate the bound feet of women and the characteristic gait that resulted from the practice. The ban on female performers also led to a controversial form of brothel, known as the xianggong tangzi, in which men paid to have sex with young boys dressed as females. Ironically, the performing skills taught to the youths employed in these brothels led many of them to become professional Dan later in life.
Jing
The Jing (凈) is a painted face male role. Depending on the repertoire of the particular troupe, he will play either primary or secondary roles.This type of role will entail a forceful character, so a Jing must have a strong voice and be able to exaggerate gestures.[55] Beijing opera boasts 15 basic facial patterns, but there are over 1000 specific variations. Each design is unique to a specific character. The patterns and coloring are thought to be derived from traditional Chinese color symbolism and divination on the lines of a person's face, which is said to reveal personality. Easily recognizable examples of coloring include red, which denotes uprightness and loyalty, white, which represents evil or crafty characters, and black, which is given to characters of soundness and integrity.Three main types of Jing roles are often seen. These include tongchui, roles that heavily involve singing, jiazi, roles with less emphasis on singing and more on physical performance, and wujing, martial and acrobatic roles.
Chou
The Chou (丑) is a male clown role. The Chou usually plays secondary roles in a troupe.[57] Indeed, most studies of Beijing opera classify the Chou as a minor role. The name of the role is a homophone of the Mandarin Chinese word chou, meaning "ugly". This reflects the traditional belief that the clown's combination of ugliness and laughter could drive away evil spirits. Chou roles can be divided into Wen Chou, civilian roles such as merchants and jailers, and Wu Chou, minor military roles. The Wu Chou is one of the most demanding in Beijing opera, because of its combination of comic acting, acrobatics, and a strong voice. Chou characters are generally amusing and likable, if a bit foolish. Their costumes range from simple for characters of lower status to elaborate, perhaps overly so, for high status characters. Chou characters wear special face paint, called xiaohualian, that differs from that of Jing characters. The defining characteristic of this type of face paint is a small patch of white chalk around the nose. This can represent either a mean and secretive nature or a quick wit.
Beneath the whimsical persona of the Chou, a serious connection to the form of Beijing opera exists. The Chou is the character most connected to the guban, the drums and clapper commonly used for musically accompaniment ring performances. The Chou actor often uses the guban in solo performance, especially when performing Shu Ban, light-hearted verses spoken for comedic effect. The clown is also connected to the small gong and cymbals, percussion instruments that symbolize the lower classes and the raucous atmosphere inspired by the role. Although Chou characters do not sing frequently, their arias feature large amounts of improvisation. This is considered a license of the role, and the orchestra will accompany the Chou actor even as he bursts into an unscripted folk song. However, e to the standardization of Beijing opera and political pressure from government authorities, Chou improvisation has lessened in recent years. The Chou has a vocal timbre that is distinct from other characters, as the character will often speak in the common Beijing dialect, as opposed to the more formal dialects of other characters.