生旦凈末丑分別用英語怎麼介紹

『壹』 「生旦凈末丑」分別指什麼

京劇里的五種角色
生：丑角以外男性，又分老生、小生、武生等
旦：丑角以外女性，又分老旦、花旦、青衣、刀馬旦等。
凈：花臉，分為正凈、副凈和武凈
末：即中年男子角色，後來已同化於生,不再詳分「生、旦、凈、末、丑」而統稱「生、旦、凈、丑」了。
丑：丑角。

『貳』 「生旦凈末丑」各是什麼意思指什麼

生旦凈末丑是指戲曲中的五大行當，代表的意思如下：

1、生是指生行；生行是扮演男性角色的一種行當，其中包括老生：主要扮演帝王及儒雅文弱的中老年人。小生：主要扮演年青英俊的男性角色。武生：主要扮演的是勇猛戰將或是綠林英雄。紅生：專指勾紅色臉譜的老生。娃娃生：劇中的兒童角色等幾大類。

2、旦指的是旦行，旦行是扮演各種不同年齡，不同性格、不同身份的女性角色。旦行分為青衣（正旦）、花旦、武旦、刀馬旦、老旦、彩旦、花衫。

3、凈指的是凈行，凈行俗稱花臉，又叫花面。一般都是扮演男性角色。凈行可分為正凈（大花臉）：地位較高，舉止穩重的忠臣良將。副凈（二花臉）：俗稱架子花臉，大多扮演性格粗豪莽撞的人物。武凈（武花臉）：以武打為主的角色。

4、末行：末行扮演中年以上男子，多數掛須。又細分為老生、末、老外。老生：所扮角色主要是正面人物的中年男子。末：一般扮演比同一劇中老生作用較小的中年男子。傳統昆劇演出整部傳奇之首出，照例皆為副末念誦詞曲開場。

5、醜行又叫小花臉、三花臉。包括文丑：伶俐風趣或陰險狡黠的角色。武丑：精明干練而風趣幽默的豪傑義士。

(2)生旦凈末丑分別用英語怎麼介紹擴展閱讀

中國戲曲中人物角色的行當分類，按傳統習慣，有「生、旦、凈、丑」和「生、旦、凈、末、丑」兩種分行方法，近代以來，由於不少劇種的「末」行已逐漸歸入「生」行，通常把「生、旦、凈、丑」作為行當的四種基本類型。

每個行當又有若干分支，各有其基本固定的扮演人物和表演特色。其中，「旦」是女角色的統稱；「生」、「凈」、兩行是男角色；「丑」行中除有時兼扮丑旦和老旦外，大都是男角色。

中國傳統戲曲的臉譜，是演員面部化妝的一種程式。一般應用於凈、丑兩個行戲劇臉譜，其中各種人物大都有自己特定的譜式和色彩，藉以突出人物的性格特徵，具有「寓褒貶、別善惡」的藝術功能，使觀眾能目視外表，窺其心胸。因而，臉譜被譽為角色「心靈的畫面」。

臉譜的演變和發展，不是某個人憑空臆造的產物，而是戲曲藝術家們在長期藝術實踐中，對生活現象的觀察、體驗、綜合，以及對劇中角色的不斷分析、判斷，作出評價，才逐步形成了一整套完整的藝術手法。

『叄』 京劇里的生旦凈末丑用英語怎麼說

character roles in Beijing Opera:
1. sheng(male roles): (1) laosheng(middle-aged or old men)
(2) xiaosheng(young men)
(3) wusheng(men with martial skills)
2. dan(female roles): (1) qingyi (a woman with a strict moral code)
(2) laodan( an elderly woman)
3. jing(roles with painted faces): (1)wenjing(civilian type)
(2)wujing(warrior type)
4.chou or clown (a comic character ): (1)wenchou(civilian clown)
(2)wuchou(clown with martial skills)

『肆』 關於梅蘭竹菊，臉譜（生旦凈末丑），古代四大美女，西遊記，鳳凰涅槃的相關英文介紹，300字以內就可。

中國古代「四大美女」：西施、貂蟬、王昭君、楊玉環 。四大美女享有「閉月內羞容花之貌，沉魚落雁之容」的美譽。「閉月、羞花、沉魚、落雁」是由精彩故事組成的歷史典故。「閉月」，是述說貂蟬拜月的故事。「羞花」，談的是楊貴妃觀花時的故事。「沉魚」，講的是西施浣紗時的故事。「落雁」，指的就是昭君出塞的故事。

『伍』 生旦凈末丑分別代表什麼英文怎麼說

「旦」是女角色的統稱；「生」、「凈」、兩行是男角色；「丑」行中除有時兼扮丑旦和老旦外，大都是男角色。
英文
Students
Dan
Net
At the end of
The ugly

『陸』 生旦凈丑，英文翻譯

如果按照字面翻譯的話可以翻譯成：male roles，femaleroles，painted-face and comic roles of Beijing Opera.但如果用在句中，比如「專生旦凈末丑我統統扮一回」屬就可以翻譯成「I am going to dress up different mask.
回答完畢望採納。

『柒』 高懸賞！求英文的生旦凈丑200字左右介紹！！急！！！

[edit] Training
Main article: Peking Opera School
Becoming a Beijing opera performer requires a long and arous apprenticeship beginning from an early age.[39] Prior to the 20th century, pupils were often handpicked at a young age by a teacher and trained for seven years on contract from the child's parents. Since the teacher fully provided for the pupil ring this period, the student accrued a debt to his master that was later repaid through performance earnings. After 1911, training took place in more formally organized schools. Students at these schools rose as early as five o'clock in the morning for exercises. Daytime was spent learning the skills of acting and combat, and senior students performed in outside theatres in the evening. If they made any mistakes ring such performances, the entire group was beaten with bamboo canes. Schools with less harsh training methods began to appear in 1930, but all schools were closed down in 1931 after the Japanese invasion. New schools were not opened until 1952.[40]

Performers are first trained in acrobatics, followed by singing and gestures. Several performing schools, all based on the styles of famous performers, are taught. Some examples are the Mei Lanfang school, the Cheng Yanqiu school, the Ma Lianliang school, and the Qi Lintong school.[41] Students previously trained exclusively in the art of performance, but modern performance schools now include academic studies as well. Teachers assess the qualifications of each student and assign them roles as primary, secondary, or tertiary characters accordingly. Students with little acting talent often become Beijing opera musicians.[42] They may also serve as the supporting cast of foot soldiers, attendants, and servants that is present in every Beijing opera troupe.[43] In Taiwan, the Ministry of National Defense of the Republic of China runs a national Beijing opera training school.[44]

[edit] 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.[45] Off-stage, xiaosheng actors are often involved with beautiful women by virtue of the handsome and young image they project.[46] The wusheng is a martial character for roles involving combat. They are highly trained in acrobatics, and have a natural voice when singing.[45] 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.[47]

[edit] Dan

Dan in Beijing operaThe 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.[48] A troupe will have a young Dan to play main roles, as well as an older Dan for secondary parts.[43] Four examples of famous Dans are Mei Lanfang, Cheng Yanqiu, Shang Xiaoyun, and Xun Huisheng.[49] 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.[50]

[edit] Jing

This Jing's painted face represents the personality traits of his characterThe Jing (凈) is a painted face male role. Depending on the repertoire of the particular troupe, he will play either primary or secondary roles.[43] This type of role will entail a forceful character, so a Jing must have a strong voice and be able to exaggerate gestures.[51] 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.[52] 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.[45]

[edit] Chou
The Chou (丑) is a male clown role. The Chou usually plays secondary roles in a troupe.[43] 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.[45]

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

『捌』 生 旦 凈 末 丑的英文是什麼

生旦凈末丑都是中國戲曲中的專用名詞，翻譯時一般都是直接用漢語拼音，可以加回註解，如生就是：答Sheng(male
role),這樣就很清楚，不會引起誤解。
可參看：http://www.rmblog.com/user4/23519/archives/2006/90400.html

『玖』 生旦凈末丑 英文

生旦凈末丑都是中國戲曲中的專用名詞，翻譯時一般都是直接用漢語拼音，專可以加註屬解，如生就是：Sheng(male role),這樣就很清楚，不會引起誤解。
可參看：http://www.rmblog.com/user4/23519/archives/2006/90400.html