有關京劇的英語四六級翻譯
① 決定學習京劇英語翻譯
I decide to study Peking opera.
② 國粹京劇的英語翻譯
京劇的英文就是： Peking Opera
③ 關於京劇的英語作文
在那景色秀麗的地方，有我迷人的故鄉—江陰。江陰的公園不勝枚舉，尤回其是那黃山湖公園，一年四季都答很美，都很有趣。
春天，公園里奼紫嫣紅，桃花、杏花、迎春花……都開了，慢山遍野。蝴蝶和蜜蜂飛到花上，正忙著彩蜜呢。小草慢慢地從地里鑽出了它的嫩芽，接著伸了個懶腰，好像在向春天問好。湖面清澈見底，如同一面碩大的銀鏡。湖邊的一棵棵柳樹在湖邊給自己洗著發瓣。
夏天，驕陽似火，太陽像一個大火球。人們有的在大樹下成陰，有的在火辣辣的太陽下走來走去，累得滿頭大汗。輕輕伸過手去摸一摸湖面，感覺熱乎乎的。湖面上的荷花，有的才展開兩三片花瓣兒，有的花瓣兒全都展開了，露出了嫩黃色小蓮蓬，有的還是花骨朵兒，看起來飽脹得馬上要破裂似的。
秋天，一陣微風吹來，樹上的楓葉都掉了下來，在金沙攤玩的小朋友們一抬頭就有一陣涼爽的風，湖面波光粼粼，令人心曠神怡。
冬天，下起了鵝毛大雪，好像給大地披上白色的毛皮大衣，小朋友們有的堆雪人，有的打雪仗……可開心了。
④ 關於京劇的英語作文要求：京劇的特點
京劇是中國的國粹之一，其早期源於安徽的徽班進京，中國的戲曲無論是京劇還回是其他戲劇都有以下幾個特點，我答自己總結的：首先是虛擬性，不同於國外的戲曲戲劇，中國的戲劇沒有寫實的布景和燈光，所有的場景環境的變換都是由台上的角色的動作從而表達出來。其實是程式化，這個程式化是指中國的戲曲的唱念做打以及生旦凈末丑。這些都是有著很具體的要求，比如一個帝王將相出場時候應該如何亮相，如何下場，花旦的貼片等。這就註定了中國戲曲人物的造型和動作設計的程式化，而這一點又恰恰成就了京劇的最大特點。是其他戲劇所沒有的。這兩點即是京劇的特點也是中國戲劇的特點，在往細節的說就是在唱腔啊台本上以及具體動作上的特點，我想你寫英文作文應該不用那麼細，如果你要我用英文幫你寫，我實在是不知道如何翻譯！
⑤ 國粹京劇英語翻譯
國粹京劇
Beijing（Peking） opera
Beijing opera or Peking opera (simplified Chinese:京劇; traditional Chinese:京劇; pinyin:Jīngjù) is a form of traditional Chinese theatre which combines music,vocal performance,mime,dance and acrobatics.It arose in the late 18th century and became fully developed and recognized by the mid-19th century.[1] The form was extremely popular in the Qing Dynasty court and has come to be regarded as one of the cultural treasures of China.[2] Major performance troupes are based in Beijing and Tianjin in the north,and Shanghai in the south.[3] The art form is also enjoyed in Taiwan,where it is known as Guoju (國劇; pinyin:Guójù).It has also spread to other countries such as the United States and Japan.
⑥ 有啥關於京劇的英文介紹最好有譯文，謝謝了！
1、Beijing Opera translation: a great taskIn recent years, more and more foreign dramas and operas are being performed in Chinese theatres. However, it seems that chances for foreign audience to enjoy Chinese traditional operas are relatively fewer, resulting in an unbalanced exchange between China and the other foreign countries in the world. Beijing Opera, the very repress introced to more audience of Chinese traditional operas, worth being of the entire world. Mrs. Elizabeth Wichmann-Walczak's version of Mei Lanfang's representative Beijing Opera work The Phoenix Returns to Its Nest sets a good example.2、A brief introction to Beijing OperaBeijing Opera (or Peking Opera) has existed for over 200 years.It is widely regarded as the highest expression of Chinese culture. It is known as one of the three main theatrical systems in the world. Artistically, Beijing Opera is perhaps the most refined form of opera in the world. It has deeply influenced the hearts of the Chinese people. Although it is called Beijing Opera, its origins are not in Beijing but in the Chinese provinces of Anhui and Hubei. After absorbing the operatic tunes of regional operas such as Han Opera, Hui Opera, and Kunqu Opera, it became a genre of national significance and popularity ring the 1790's. The charm of Beijing Opera lies in the comprehensive form of stage art. It is an organic combination of script literature, the performing techniques of "singing, reciting, dance-acting and acrobatics", music, painted-face make-ups and costumes, and so on.3、Beijing Opera translationThe early attempts to bring Chinese drama to the West mainly consisted in translation of traditional Chinese opera lyrics, which served as literature for the purpose of reading rather than performance. These include Xi Xiang .Ii and a great number of other Yuan dynasty operas. In 1741, Zhao Shi Gu Er, or as Edward Cave rendered it, Chau Shi Ku Eul: The Little Orphan of the Family of Chau, was translated into English. Three English versions' of this play were published in London, translated respectively by Edward Cave, William Hatchett and John Watts. Among the modern classics in Chinese modern drama translated into English were Cao Yu's Thundestorm by Wang Tso-Bang and A.C. Barnes and Wildness by James Liu. Since the late 1970s, many new Chinese plays have been collected in anthologies of translations of contemporary Chinese literature.以上資料，引用請註明出處（見「參考資料」）4、In this period, Peking opera became the most popular and economically developed form of urban stage entertainment in China and its actors, playwrights, and patrons were central figures in the popular imagination and cultural politics of the day. As a diverse group these actors and their allies worked within the context of a rapidly changing urban and national culture to overcome social and political discrimination and elevate their art to the level of internationally recognized cultural respectability. In the process, Peking opera was in many ways on the leading edge of modern transformations and experimentations in creating new meanings for popular theater, new dynamics of urban sociability, and new representations of gender, while at the same time serving as a symbol for a traditional culture that many sensed was receding under the pressures of modernization.
參考資料：浙江大學，邵佳，《戲劇翻譯與文化——京劇翻譯初探》，11－12頁。
⑦ 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.
⑧ 京劇翻譯成英語語法
Peking opera or Beijing opera (simplified Chinese: 京劇; traditional Chinese: 京劇; pinyin: Jīngjù)
京劇的腔調以西皮和二黃為主，主要用胡琴和鑼鼓等伴奏，被視為中內國國粹。容
京劇於2010年，獲選進入人類非物質文化遺產代表作名錄。
⑨ 著名京劇曲目的英文翻譯
著名京劇曲目
Famous Beijing Opera Tracks
⑩ 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。