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，那么，京劇英文簡介？一起來了解一下吧。
Beijing Opera, also known as "yellow skin" from "Xi Pi" and "Erhuang" two basic tone of its music material, and also to sing tunes in some places small (for example, Liu Zi cavity, blowing cavity) and Kunqu Qupai. It was formed in Beijing, in time before and after 1840, prevalent in the 20th century three, the 1940s, when a "national drama," said. Now it is still a country with great influence Operas. It'scomprehensive and mature performance, the momentum of US-hong, is the representative of modern Chinese opera. China Peking Opera is China's "national essence", has 200 years of history. Beijing Opera is seen at the beginning of 2002-Guangxu (1876) "declaration", the history of skin was yellow, two yellow, yellow cavity, for Beijing, Peking opera, Peking opera, drama, and so the title, the Qing dynasty Qianlong 1966 (1790 ) Emblem four classes in Beijing, Anhui and Beijing Jutan after the Kunqu opera, Han Ju, Yiyang, Luandan Operas such as the 50's and 60's of the draw, Evolution of a Peking Opera is China's largest opera Operas. Its repertoire of the rich, as much as performing artists, many companies, as much as the audience, the impact of the deep are the highest. Beijing Opera is a comprehensive performing arts. That is, sing (singing), read (read white) and do (performance), fight (martial arts), dance (dance) for the integration, through the program's performance means Syria's stories, characterizations figures, the expression "Hi, anger, sorrow, Lok , Panic, fear, grief, "the thoughts and feelings. Role can be divided into: Health (men), Dan (woman), net (men), ugly (men and women both) four. Zhongjian of the characters, Beauty and Ugliness of the points, good and evil of the points. The image clear, lifelike. State attaches great importance to the protection of intangible cultural heritage, May 20, 2006, Peking approved by the State Council included in the first batch of state-level intangible cultural heritage.
1、Beijing Opera translation: a great task
In 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 introduced 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 introduction to Beijing Opera
Beijing 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 during 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 translation
The 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，引用請注明出處（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.
The Orphan of Zhao, or Orphan of the House Tcho (趙氏孤兒) is a Chinese play of the Yuan Dynasty, attributed to someone named Ji Junxiang(紀君祥大余), about whom almost nothing is known. Based on an episode in Shiji, the play has its full name The Great Revenge of the Orphan of Zhao Family (趙模攜氏孤兒大報仇旦仿伏). Loyalty(忠心) is the theme of the history play Zhaoshi guer (The Orphan of Zhao), written in the second half of the 13th century. In it the hero sacrifices his son to save the life of young Zhao so that Zhao can later avenge the death of his family. It is the first Chinese play known in Europe. Joseph Henri Marie de Prémare translated the play into French as Tchao-chi-cou-eulh, published in 1735 (the play was published separately in 1755). Thomas Hatchett (active 1721-1741) published an adaptation of the play in English, "The Orphan of China" that changes the ending significantly so that the play conforms to classical conventions of the three unities(三一律).
Peking Opera combines music, acrobatic dance, and spectacular costumes to tell stories from Chinese history and folklore. Using abstract, symbolic gestures rich in dramatic meaning, actors represent personages from the heroic, divine, and animal worlds, often in martial exploits. The traditional features of the masklike makeup and elaborate costumes immediately identify the characters to a knowing audience.
Beijing opera：
Beijing opera or Peking opera is a kind of Chinese opera which arose in the mid-19th century and was extremely popular in the Qing Dynasty court. It is widely regarded as one of the cultural treasures of China. Beijing and Tianjin are respected as the base cities of Peking opera in the north while Shanghai is the base in the south.
History：
Although it is called Beijing opera, its origins are not in Beijing but in the Chinese provinces of Anhui and Hubei. Beijing opera got its two main melodies, Xipi and Erhuang, from Anhui and Hubei operas. Much dialogue is also carried out in an archaic dialect originating partially from those regions. It also absorbed music and arias from other operas and musical arts such as the historic Qinqiang as well as being very strongly influenced by Kunqu, the form that preceded it as court art. It is regarded that Beijing opera was born when the Four Great Anhui Troupes came to Beijing in 1790. Beijing opera was originally staged for the court and came into the public later. In 1828, some famous Hubei troupes came to Beijing. They often jointly performed in the stage with Anhui troupes. The combination gradually formed Beijing opera's main melodies.
Four main roles：
Sheng (生, Male role)
Dan (旦, Female role)
Jing (凈, Painted face male role)
Chou (丑, Clown role)
The three roles other than the second role represent male characters.
There is an explanation about why the roles take the names above. It is said that they were chosen to have opposite meanings. Sheng in Chinese may mean "strange" or "rare", but the chief male role is a well known character. Dan, which means "morning" or "masculine", is contrary to the feminine nature of the characters. Jing means "clean", but in fact the paintings on their faces make the characters look unclean but colorful. And Chou in Chinese sometimes represents the animal "ox", which, in some senses, is slow and silent – in contrast, the Chou characters are usually quick and talkative.
資料來源：維基百科
以上就是京劇英文簡介的全部內容，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。
