戲劇的起源英語(yǔ)作文
無(wú)論在學(xué)習(xí)、工作或是生活中，大家最不陌生的就是作文了吧，作文一定要做到主題集中，圍繞同一主題作深入闡述，切忌東拉西扯，主題渙散甚至無(wú)主題。還是對(duì)作文一籌莫展嗎？下面是小編整理的戲劇的起源英語(yǔ)作文，歡迎閱讀與收藏。
中國(guó)戲曲源遠(yuǎn)流長(zhǎng)，它最早是從模仿勞動(dòng)的歌舞中產(chǎn)生的。
Chinese opera has a long history. It originated from the imitation of labor.
�。ㄒ唬┫惹亍獞蚯拿妊科凇！对�(shī)經(jīng)》里的“頌”，《楚辭》里的“九歌”，就是祭神時(shí)歌舞的唱詞。從春秋戰(zhàn)國(guó)到漢代，在祭神的歌舞中逐漸演變出娛人的歌舞。從漢魏到中唐，又先后出現(xiàn)了以競(jìng)技為主的“角抵”（即百戲）、以問(wèn)答方式表演的“參軍戲”和扮演生活小故事的歌舞“踏搖娘”等，這些都是萌芽狀態(tài)的戲劇。
�。�1）Pre Qin period: the embryonic stage of opera. The "ode" in the book of songs and the "Nine Songs" in the songs of the Chu are the songs and dances for worshiping gods. From the spring and Autumn period and the Warring States period to the Han Dynasty, the song and dance of entertaining people gradually evolved in the song and dance of worshiping gods. From the Han and Wei dynasties to the middle Tang Dynasty, there were successively competitive "contests" (i.e. hundred operas), question and answer performances of "participating in the army" and songs and dances of "stepping on a shaking mother" playing life stories, all of which were budding dramas.
�。ǘ┨拼ㄖ泻笃冢獞蚯男纬善�。中唐以后，我國(guó)戲劇飛躍發(fā)展，戲劇藝術(shù)逐漸形成。
�。�2）Tang Dynasty (middle and later period) - the formation period of opera. After the middle Tang Dynasty, Chinese drama developed rapidly, and drama art gradually formed.
�。ㄈ┧谓稹獞蚯陌l(fā)展期。宋代的“雜劇”，金代的“院本”和講唱形式的“諸宮調(diào)”，從樂(lè)曲、結(jié)構(gòu)到內(nèi)容，都為元代雜劇打下了基礎(chǔ)。
�。�3）Song and Jin: the development period of opera. The "Zaju" in Song Dynasty, the "Yuanben" in Jin Dynasty and the "zhugongdiao" in the form of speaking and singing lay the foundation for the Zaju in Yuan Dynasty, from music, structure to content.
�。ㄋ模┰獞蚯某墒炱�。到了元代，“雜劇”就在原有基礎(chǔ)上大大發(fā)展，成為一種新型的戲劇。它具備了戲劇的'基本特點(diǎn)，標(biāo)志著我國(guó)戲劇進(jìn)入成熟的階段。
�。�4）Yuan Dynasty - the mature period of opera. In the Yuan Dynasty, "Zaju" developed greatly on the basis of the original and became a new type of drama. It has the basic characteristics of drama and marks the mature stage of Chinese drama.
（五）明清——戲曲的繁榮期。戲曲到了明代，傳奇發(fā)展起來(lái)了。明代傳奇的前身是宋元時(shí)代的南戲（南戲是南曲戲文的簡(jiǎn)稱，它是在宋代雜劇的基礎(chǔ)上，與南方地區(qū)曲調(diào)結(jié)合而發(fā)展起來(lái)的一種新興的戲劇形式。溫州是它的發(fā)祥地）。南戲在體制上與北雜劇不同：它不受四折的限制，也不受一人唱到底的限制，有開(kāi)場(chǎng)白的交代情節(jié)，多是大團(tuán)圓的結(jié)局，風(fēng)格上大都比較纏綿，不像北雜劇那樣慷慨激昂，在形式上比較自由，更便于表現(xiàn)生活�？上г缙谀蠎虻谋咀颖Ａ粝聛�(lái)的極少，直到元末明初，南戲才開(kāi)始興盛，經(jīng)過(guò)文人的加工和提高，這種本來(lái)不夠嚴(yán)整的短小戲曲，終于變成相當(dāng)完整的長(zhǎng)篇?jiǎng)∽鳌＠绺呙鞯摹杜糜洝肪褪且徊坑赡蠎蛳騻髌孢^(guò)渡的作品。這部作品的題材，來(lái)源于民間傳說(shuō)，比較完整地表現(xiàn)了一個(gè)故事，并且有一定的戲劇性，曾被譽(yù)為“南戲中興之祖”。明代中葉，傳奇作家和劇本大量涌現(xiàn)，其中成就最大的是湯顯祖。他一生寫了許多傳奇劇本，《牡丹亭》是他的代表作。作品通過(guò)杜麗娘和柳夢(mèng)梅死生離合的故事，歌頌了反對(duì)封建禮教，追求幸福愛(ài)情，要求個(gè)性解放的反抗精神。作者給愛(ài)情以起死回生的力量，它戰(zhàn)勝了封建禮教的束縛，取得了最后勝利。這一點(diǎn)，在當(dāng)時(shí)封建禮教牢固統(tǒng)治的社會(huì)里，是有深遠(yuǎn)的社會(huì)意義的。這個(gè)劇作問(wèn)世三百年來(lái)，一直受到讀者和觀眾的喜愛(ài)，直到今天，“閨塾”、“驚夢(mèng)”等片斷還活躍在戲曲表演的舞臺(tái)上，放射著它那藝術(shù)的光輝。
（5）Ming and Qing Dynasties - the prosperous period of opera. In the Ming Dynasty, legends developed. The legend of Ming Dynasty originated from Nanxi in song and Yuan Dynasty (Nanxi is the abbreviation of Nanqu opera, which is a new form of drama developed on the basis of Song Dynasty Zaju and the combination of Southern tunes. Wenzhou is its birthplace. The South opera is different from the North opera in system: it is not limited by four fold, nor by one person singing to the end. The narration plot with opening words is mostly the ending of a happy reunion. The style is more lingering, not as impassioned as the North opera, more free in form, more convenient to express life. Unfortunately, only a few copies of the early southern opera remained. Until the end of the Yuan Dynasty and the beginning of the Ming Dynasty, the southern opera began to flourish. After the processing and improvement of scholars, this short opera, which was not strict enough, finally became a quite complete long play. For example, the brilliant Pipa is a work of transition from southern opera to legend. The theme of this work, originated from folklore, shows a complete story, and has a certain degree of drama, once known as the "ancestor of the rise of southern opera". In the middle of Ming Dynasty, a large number of legendary writers and plays emerged, of which Tang Xianzu achieved the most. He wrote many legendary plays in his life, and the Peony Pavilion is his masterpiece. Through the story of Du Liniang and Liu Mengmei's life and death, the work extols the rebellious spirit of opposing feudal ethics, pursuing happy love and demanding personality liberation. The author gives love the power of reviving from the dead. It conquers the shackles of feudal ethics and achieves the final victory. This is of far-reaching social significance in the society that feudal ethics firmly ruled at that time. This play has been loved by readers and audiences for 300 years since it was published. Up to now, "boudoir school" and "dream" are still active in the stage of opera performance, radiating its artistic brilliance.
中國(guó)古代戲劇因以“戲”和“曲”為主要因素，所以稱做“戲曲”。中國(guó)戲曲主要包括宋元南戲、元明雜劇、傳奇和明清傳奇，也包括近代的京戲和其他地方戲的傳統(tǒng)劇目在內(nèi)，它是中國(guó)民族戲劇文化的通稱。
Ancient Chinese drama is called "opera" because of the main factors of "opera" and "Qu". Chinese opera mainly includes southern opera of song and yuan, Zaju of yuan and Ming, legend and legend of Ming and Qing Dynasties, as well as the traditional repertoire of modern Beijing Opera and other local operas. It is the general name of Chinese national drama culture.
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