有关京剧的英语四六级翻译
① 决定学习京剧英语翻译
I decide to study Peking opera.
② 国粹京剧的英语翻译
京剧的英文就是： Peking Opera
③ 关于京剧的英语作文
在那景色秀丽的地方，有我迷人的故乡—江阴。江阴的公园不胜枚举，尤回其是那黄山湖公园，一年四季都答很美，都很有趣。
春天，公园里姹紫嫣红，桃花、杏花、迎春花……都开了，慢山遍野。蝴蝶和蜜蜂飞到花上，正忙着彩蜜呢。小草慢慢地从地里钻出了它的嫩芽，接着伸了个懒腰，好像在向春天问好。湖面清澈见底，如同一面硕大的银镜。湖边的一棵棵柳树在湖边给自己洗着发瓣。
夏天，骄阳似火，太阳像一个大火球。人们有的在大树下成阴，有的在火辣辣的太阳下走来走去，累得满头大汗。轻轻伸过手去摸一摸湖面，感觉热乎乎的。湖面上的荷花，有的才展开两三片花瓣儿，有的花瓣儿全都展开了，露出了嫩黄色小莲蓬，有的还是花骨朵儿，看起来饱胀得马上要破裂似的。
秋天，一阵微风吹来，树上的枫叶都掉了下来，在金沙摊玩的小朋友们一抬头就有一阵凉爽的风，湖面波光粼粼，令人心旷神怡。
冬天，下起了鹅毛大雪，好像给大地披上白色的毛皮大衣，小朋友们有的堆雪人，有的打雪仗……可开心了。
④ 关于京剧的英语作文要求：京剧的特点
京剧是中国的国粹之一，其早期源于安徽的徽班进京，中国的戏曲无论是京剧还回是其他戏剧都有以下几个特点，我答自己总结的：首先是虚拟性，不同于国外的戏曲戏剧，中国的戏剧没有写实的布景和灯光，所有的场景环境的变换都是由台上的角色的动作从而表达出来。其实是程式化，这个程式化是指中国的戏曲的唱念做打以及生旦净末丑。这些都是有着很具体的要求，比如一个帝王将相出场时候应该如何亮相，如何下场，花旦的贴片等。这就注定了中国戏曲人物的造型和动作设计的程式化，而这一点又恰恰成就了京剧的最大特点。是其他戏剧所没有的。这两点即是京剧的特点也是中国戏剧的特点，在往细节的说就是在唱腔啊台本上以及具体动作上的特点，我想你写英文作文应该不用那么细，如果你要我用英文帮你写，我实在是不知道如何翻译！
⑤ 国粹京剧英语翻译
国粹京剧
Beijing（Peking） opera
Beijing opera or Peking opera (simplified Chinese:京剧; traditional Chinese:京剧; 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 (国剧; pinyin:Guójù).It has also spread to other countries such as the United States and Japan.
⑥ 有啥关于京剧的英文介绍最好有译文，谢谢了！
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.以上资料，引用请注明出处（见“参考资料”）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.
参考资料：浙江大学，邵佳，《戏剧翻译与文化——京剧翻译初探》，11－12页。
⑦ 急求京剧专业词汇翻译
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 (净) 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 京剧翻译成英语语法
Peking opera or Beijing opera (simplified Chinese: 京剧; traditional Chinese: 京剧; pinyin: Jīngjù)
京剧的腔调以西皮和二黄为主，主要用胡琴和锣鼓等伴奏，被视为中内国国粹。容
京剧于2010年，获选进入人类非物质文化遗产代表作名录。
⑨ 著名京剧曲目的英文翻译
著名京剧曲目
Famous Beijing Opera Tracks
⑩ 有啥关于京剧的简短英文介绍
Peking Opera, once called pingju, is one of the five major operas in China.
（京剧，曾称平剧，中国五大戏曲剧种之一。）
The scene layout pays attention to freehand brushwork, tone to xipi, erhuang mainly, with the accompaniment of huqin and gongs and drums.
（场景布置注重写意，腔调以西皮、二黄为主，用胡琴和锣鼓等伴奏。）
Regarded as the quintessence of Chinese culture, Chinese opera tops the list.
（被视为中国国粹，中国戏曲三鼎甲“榜首”。）
Hui opera is the predecessor of Peking Opera.
（徽剧是京剧的前身。）
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.
（原在南方演出的三庆、四喜、春台、和春， 四大徽班陆续进入北京。）
They collaborated with han singers from hubei province.
（他们与来自湖北的汉调艺人合作。）
At the same time, he also accepted some plays, tunes and performing methods of kunqu opera and qinqiang opera.
（同时又接受了昆曲、秦腔的部分剧目、曲调和表演方法。）
It absorbed some local folk tunes and formed Beijing Opera through continuous communication and integration.
（吸收了一些地方民间曲调，通过不断的交流、融合，最终形成京剧。）
After its formation, Peking Opera began to develop rapidly in the qing court.
（京剧形成后在清朝宫廷内开始快速发展。）
Until the republic of China achieved unprecedented prosperity.
（直至民国得到空前的繁荣。）
京剧表现手法：京剧表演的四种艺术手法：唱、念、做、打，也是京剧表演四项基本功。唱指歌唱，念指具有音乐性的念白，二者相辅相成，构成歌舞化的京剧表演艺术两大要素之一的“歌”，做指舞蹈化的形体动作，打指武打和翻跌的技艺，二者相互结合，构成歌舞化的京剧表演艺术两大要素之一的“舞”。
戏曲演员从小就要从这四个方面进行训练，虽然有的演员擅长唱功（唱功老生），有的行当以做功（花旦）为主，有的以武打为主（武净）。
但是要求每一个演员必须有过硬的唱、念、做、打四种基本功。只有这样才能充分地发挥京剧的艺术特色。更好地表现和刻画戏中的各种人物形象。京剧有唱，有舞，有对白，有武打，有各种象征性的动作，是一种高度综合性的艺术。