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以“为什么相声在中国受欢迎”为题写一篇英文作文,250字以上

发布网友 发布时间:2022-04-23 13:56

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4个回答

热心网友 时间:2023-10-16 21:51

你可以参考一下这两篇:

The Return of Traditional Crosstalk
Adjust font size:
The traditional performance art of crosstalk is making a comeback with the help of crosstalk specialist, Guo Degang.

He performed at the PLA Opera House on January 11 and 12, 2006. Although the performance wasn't formally advertised, many turned up and jammed the box office trying to get tickets. Tickets were sold for 20 yuan (US$2.4), but had a black market value of as much as 300 yuan (US$36). Response was so good that the theater decided to add another performance on January 25.

Guo doesn't belong to an official group or troupe, and has never performed on TV. But attending his crosstalk performance is becoming increasingly trendy in Beijing, especially for young executives and school children who load their MP3 players with his works.

He might not be mainstream, but Guo was able to command 25 encores on January 11, adding some three hours to the originally scheled two-hour performance.

Traditional crosstalk

Crosstalk, xiangsheng in Chinese (literally, "face and voice"), is a traditional form of comic dialogue that came about in China's imperial Qing Dynasty (1644-1911). Crosstalk, usually performed by two people, also can be performed by one person or even a group of people.

The performers will try their best to make fun or take advantage of the other/s with the skillful play of words, a technique that brings to the fore the craft and wit of the Chinese language.

In the old days in Tianjin, Beijing, and elsewhere, temple fairs and street markets were where crosstalkers performed. More famous performers were invited to perform in teahouses and theaters.

Guo said that, in those days, "the average crosstalker could earn more than the total earnings of ten rickshaw pullers".

Crosstalk pieces draw on every aspect of Chinese culture, from history and folk tales to contemporary social issues. Although there are hundreds of pieces in the traditional repertoire, they are usually edited to suit the times and the audience.

The critical junctures in development

During the Cultural Revolution (1966-76), the art was criticized as decadent and belonging to the old society. Lots of crosstalk works were lost ring this time.

Crosstalk has also seen a dramatic decline in recent years with fewer scripts and performers. Few live shows are performed at theaters, and only the really famous performers are invited to do their thing on TV. Even then, it's usually only once a year ring the Spring Festival Gala.

Their dilemma is the same as that faced by other practitioners of traditional Chinese folk art; in a rapidly developing society where people have more and more entertainment choices, traditional art forms are increasingly unattractive.

Guo arrived in Beijing from Tianjin in 1995 to embark on his crosstalk career, only to find that the art form was on the decline.

The rejuvenation of crosstalk

In 1995, Guo chanced upon a teahouse where he found several young people performing crosstalk.

Being a crosstalker himself, he couldn't resist taking to the stage. Graally, more and more people came to the teahouse to see him perform. He soon found himself playing to audiences numbering more than 100 in a teahouse that could only accommodate 80.

As his popularity grew, Guo pondered the future of his art.

"Traditional crosstalk is at least half an hour long, but performances are no longer than five minutes on TV, which kills much of the story. TV is part of the fast-food culture and crosstalk is a face-to-face art form -- it needs interaction, and is not suited to TV," Guo said.

He was determined to bring it back to its roots, the teahouse and theater.

In 1996, Guo and some young crosstalk actors founded Deyun Crosstalk Association aimed at returning crosstalk to teahouses and theaters. Over the next ten years, the association organized countless performances in teahouses across Beijing. Despite their growing popularity, Guo ensured that ticket prices were kept low to make the art form accessible to everyone. Tickets to his performances are still 20 yuan today.

Guo said that training to be a crosstalk actor requires an inordinate amount of hard work. In the old days, children who wanted to learn crosstalk had to live in the crosstalk master's home. Only after seven or eight years of rigorous training were the more talented ones allowed to perform with their masters on stage. It would take about another sixteen years before young actors forged styles of their own. Guo added that a crosstalk actor didn't usually find fame and fortune until well into his 40s.

To preserve the art form, the association has recorded more than 600 traditional crosstalk pieces, while the Complete Collection of Chinese Crosstalk recorded by all famous crosstalk masters, from the fourth to the eighth generations, only contains 400 pieces.

And in keeping with technology and modern times, the association set up a BBS site (http://www.guodegang.org/bbs/?u=350) on the Internet where fans can download recordings and discuss performances with actors.

Guo hopes that this means a revival for the dying art form, and that through the association's efforts, more young people will learn to appreciate it and perhaps train to be crosstalkers themselves.

(China.org.cn by Chen Lin, February 3, 2006)

-----------------------------------
Crosstalk magic leaves crowds delirious
Adjust font size:
Magicians performing at the recently concluded World Championships of Magic in Beijing certainly wowed audiences with their sleight of hand. The show also brought an ancient stage craft -- known as crosstalk -- to the attention of a younger public. Judging by the enthusiastic response, the two art forms seem made for each other. Now, local entertainers have begun blending magic acts into their own traditional crosstalk routines.

The Minglehui Crosstalk Club is one of Beijing's most popular comedy clubs. In recent weeks, comedians performing there have taken their cues from the magic championships, and have begun trying their hand at a little abracadabra themselves. Famous acts, such as the world-renowned magician David Copperfield, are gleefully parodied. And the impressive visual impact often leaves audiences rolling in the aisles.

For centuries, crosstalk has been a popular entertainment tradition across northern China. The comedians often hold audiences spellbound with their original perspective on the latest popular topics.

Adding magic to crosstalk, the performers hope to attract more young people, while retaining the original flavor of their craft. The club is now trying to acquire some professional magic props in order to put on an even more spectacular show.

热心网友 时间:2023-10-16 21:51

你可以参考一下这两篇:

The Return of Traditional Crosstalk
Adjust font size:
The traditional performance art of crosstalk is making a comeback with the help of crosstalk specialist, Guo Degang.

He performed at the PLA Opera House on January 11 and 12, 2006. Although the performance wasn't formally advertised, many turned up and jammed the box office trying to get tickets. Tickets were sold for 20 yuan (US$2.4), but had a black market value of as much as 300 yuan (US$36). Response was so good that the theater decided to add another performance on January 25.

Guo doesn't belong to an official group or troupe, and has never performed on TV. But attending his crosstalk performance is becoming increasingly trendy in Beijing, especially for young executives and school children who load their MP3 players with his works.

He might not be mainstream, but Guo was able to command 25 encores on January 11, adding some three hours to the originally scheled two-hour performance.

Traditional crosstalk

Crosstalk, xiangsheng in Chinese (literally, "face and voice"), is a traditional form of comic dialogue that came about in China's imperial Qing Dynasty (1644-1911). Crosstalk, usually performed by two people, also can be performed by one person or even a group of people.

The performers will try their best to make fun or take advantage of the other/s with the skillful play of words, a technique that brings to the fore the craft and wit of the Chinese language.

In the old days in Tianjin, Beijing, and elsewhere, temple fairs and street markets were where crosstalkers performed. More famous performers were invited to perform in teahouses and theaters.

Guo said that, in those days, "the average crosstalker could earn more than the total earnings of ten rickshaw pullers".

Crosstalk pieces draw on every aspect of Chinese culture, from history and folk tales to contemporary social issues. Although there are hundreds of pieces in the traditional repertoire, they are usually edited to suit the times and the audience.

The critical junctures in development

During the Cultural Revolution (1966-76), the art was criticized as decadent and belonging to the old society. Lots of crosstalk works were lost ring this time.

Crosstalk has also seen a dramatic decline in recent years with fewer scripts and performers. Few live shows are performed at theaters, and only the really famous performers are invited to do their thing on TV. Even then, it's usually only once a year ring the Spring Festival Gala.

Their dilemma is the same as that faced by other practitioners of traditional Chinese folk art; in a rapidly developing society where people have more and more entertainment choices, traditional art forms are increasingly unattractive.

Guo arrived in Beijing from Tianjin in 1995 to embark on his crosstalk career, only to find that the art form was on the decline.

The rejuvenation of crosstalk

In 1995, Guo chanced upon a teahouse where he found several young people performing crosstalk.

Being a crosstalker himself, he couldn't resist taking to the stage. Graally, more and more people came to the teahouse to see him perform. He soon found himself playing to audiences numbering more than 100 in a teahouse that could only accommodate 80.

As his popularity grew, Guo pondered the future of his art.

"Traditional crosstalk is at least half an hour long, but performances are no longer than five minutes on TV, which kills much of the story. TV is part of the fast-food culture and crosstalk is a face-to-face art form -- it needs interaction, and is not suited to TV," Guo said.

He was determined to bring it back to its roots, the teahouse and theater.

In 1996, Guo and some young crosstalk actors founded Deyun Crosstalk Association aimed at returning crosstalk to teahouses and theaters. Over the next ten years, the association organized countless performances in teahouses across Beijing. Despite their growing popularity, Guo ensured that ticket prices were kept low to make the art form accessible to everyone. Tickets to his performances are still 20 yuan today.

Guo said that training to be a crosstalk actor requires an inordinate amount of hard work. In the old days, children who wanted to learn crosstalk had to live in the crosstalk master's home. Only after seven or eight years of rigorous training were the more talented ones allowed to perform with their masters on stage. It would take about another sixteen years before young actors forged styles of their own. Guo added that a crosstalk actor didn't usually find fame and fortune until well into his 40s.

To preserve the art form, the association has recorded more than 600 traditional crosstalk pieces, while the Complete Collection of Chinese Crosstalk recorded by all famous crosstalk masters, from the fourth to the eighth generations, only contains 400 pieces.

And in keeping with technology and modern times, the association set up a BBS site (http://www.guodegang.org/bbs/?u=350) on the Internet where fans can download recordings and discuss performances with actors.

Guo hopes that this means a revival for the dying art form, and that through the association's efforts, more young people will learn to appreciate it and perhaps train to be crosstalkers themselves.

(China.org.cn by Chen Lin, February 3, 2006)

-----------------------------------
Crosstalk magic leaves crowds delirious
Adjust font size:
Magicians performing at the recently concluded World Championships of Magic in Beijing certainly wowed audiences with their sleight of hand. The show also brought an ancient stage craft -- known as crosstalk -- to the attention of a younger public. Judging by the enthusiastic response, the two art forms seem made for each other. Now, local entertainers have begun blending magic acts into their own traditional crosstalk routines.

The Minglehui Crosstalk Club is one of Beijing's most popular comedy clubs. In recent weeks, comedians performing there have taken their cues from the magic championships, and have begun trying their hand at a little abracadabra themselves. Famous acts, such as the world-renowned magician David Copperfield, are gleefully parodied. And the impressive visual impact often leaves audiences rolling in the aisles.

For centuries, crosstalk has been a popular entertainment tradition across northern China. The comedians often hold audiences spellbound with their original perspective on the latest popular topics.

Adding magic to crosstalk, the performers hope to attract more young people, while retaining the original flavor of their craft. The club is now trying to acquire some professional magic props in order to put on an even more spectacular show.

热心网友 时间:2023-10-16 21:52

Beijing dialect to say
. Essence of comic dialogue that is amusing. Pierce in terms of the stuff is amusing. This fun, there are already a hundred years of history. It originated at first, but in order to Hunfan Chi, the venue had to be eloquent performances. It is unique in Office, is that the game language, so that it can transforms, after the hint, narrative, layers of overlay, the mobilization of the listener's interest, finally, is convulsed with laughter, to the spirit of delight from the surface, whether single port, al port, group I was nothing but "Shua Pinzui" Kaishuan each other, with the public taste to alleviate people's hardship and mental stress and life's troubles, in short, the use of language make people forget their troubles, access to short-term happiness to meet a non - words to say to escape to enjoy. From this perspective, the crosstalk has played a certain sense, the spirit of the role of comic dialogue soothing massage from the turmoil of the era, from "Xia Sanlan" artist's mouth. Unrefined, there is no deep theoretical system, because the "struggling" the struggle alive, so the subconscious of comic dialogue contains forward to "students" of the desire to "students" joking understanding. In this way, the significance of comic dialogues have a very complicated attitude toward life. Comic dialogue is Kuzhongzuoyue Language "tricks." "Because health is not easy, the difficult struggle, crosstalk is inherently a distinctive element. It is wise insight into their own development must be the basis of the needs of survival: the general public; the same time, in order to de-ying out on top of all instries, using its own language is necessary to win the characteristics alone, eclectic art for the various categories have been used, and strive to achieve "from public art, do not in the public art", so that is not complicated, and unique. To attract attention, make it difficult to forget, and even "for their own god to" This is the crosstalk of the original ecological objectives, but also its rules of survival. Thus, from the put down to go to the stage, comic dialogues with Chinese opera performances a step by step become a spoken-word art, and eventually crown on the "traditional art" of the crown

热心网友 时间:2023-10-16 21:52

北京话这么说
。相声的实质,就是逗乐。串起来讲便是逗乐的玩意儿。 这个乐子,已经有百年的历史。它的发源,当初不过是为了混饭吃,不得不进行的场地口才表演。它的独特处,就在于游戏语言,使其能在起承转合中,经过伏笔,叙述,层层叠加,调动听者的兴趣,最后,令人捧腹大笑,达到精神的怡悦 从表面上看,无论单口、双口、群口,无非是“耍贫嘴”,彼此开涮,用大众趣味缓解人们的精神压力和生活困顿的烦恼,总之,利用语言让人们忘记烦恼,获得短暂的快乐,满足某种不可言说的逃避的享受。从这样的角度讲,相声一定意义上扮演了精神抚慰按摩师的角色 相声来自*的年代,出自“下三烂”的艺人之口。不登大雅之堂,没有精深的理论体系,因为对“苟且”活着的挣扎,所以相声的潜意识里蕴含着对“生”的渴求,对“生”戏谑的理解。 这样,相声的意义就有了极其复杂的人生态度。相声是苦中作乐的语言“把戏”。< 因为生的不易,挣扎的艰难,相声天生就具有了与众不同的成分。 它聪明的洞察了自身发展必须需要的生存基础:大众;同时,为了脱颖各行业之上而出,它利用自身仅靠语言就要取胜的特点,兼收并蓄各门类艺术为己所用,努力做到“来自众艺,别于众艺”,做到不繁琐,又独特。吸引眼球,使人难以忘怀,以至“为自己衣食父母”,这是相声原生态的目标,也是它的生存法则。 于是,从撂地到舞台,相声借助戏曲表演一步步成为了说唱艺术,并最终冠上了“传统艺术”之冕.

热心网友 时间:2023-10-16 21:53

Beijing says so
. The essence of crosstalk, is amusing. Speaking is amusing together. This fun, have 100 years of history. It originated in HunFan, however is to eat, the venue eloquence. It is unique, language, which can play in the transitions, through foreshadowing, narrative, layer upon layer overlay, mobilize the listener's interest, and finally, a laugh, achieve the spirit YiYue from apparently look, whatever stand-up, double mouth, performed, is "ShuaPinZui with each other", KaiShuan, public interest ease people's life and mental pressure of annoyance, anyhow, isexhausted using language make people forget worries, a happy and satisfied certain ineffable sufficiency of escape. From this point of view, crosstalk in the spiritual comfort as masseur characters from the unrest, crosstalk "dirty" from the mouth of the artist. Don't of profound theoretical system, not because they live in "struggle", so the crosstalk subconscious contains the desire to "life", "" the banter. So, the significance of crosstalk has extremely complicated attitude towards life. Crosstalk, or xiangsheng, is taking pains "tricks" of the language. "Because of the hard struggle is not easy, and has a distinctive crosstalk natural ingredients. It is wise to the development of insight to their survival foundation, mass, At the same time, in order to backed out, it instries above only by using their own language will win, inclusive characteristics of various categories of art, strive for the arts, "from", in the tedious, and it is unique. To attract eyeball, make the person that unforgettable "for their food and clothing parents", this is the original target, crosstalk live it. So, from LiaoDe to stage, crosstalk opera performance by step by step, and became rap art on the end of traditional art "crown".

热心网友 时间:2023-10-16 21:52

Beijing dialect to say
. Essence of comic dialogue that is amusing. Pierce in terms of the stuff is amusing. This fun, there are already a hundred years of history. It originated at first, but in order to Hunfan Chi, the venue had to be eloquent performances. It is unique in Office, is that the game language, so that it can transforms, after the hint, narrative, layers of overlay, the mobilization of the listener's interest, finally, is convulsed with laughter, to the spirit of delight from the surface, whether single port, al port, group I was nothing but "Shua Pinzui" Kaishuan each other, with the public taste to alleviate people's hardship and mental stress and life's troubles, in short, the use of language make people forget their troubles, access to short-term happiness to meet a non - words to say to escape to enjoy. From this perspective, the crosstalk has played a certain sense, the spirit of the role of comic dialogue soothing massage from the turmoil of the era, from "Xia Sanlan" artist's mouth. Unrefined, there is no deep theoretical system, because the "struggling" the struggle alive, so the subconscious of comic dialogue contains forward to "students" of the desire to "students" joking understanding. In this way, the significance of comic dialogues have a very complicated attitude toward life. Comic dialogue is Kuzhongzuoyue Language "tricks." "Because health is not easy, the difficult struggle, crosstalk is inherently a distinctive element. It is wise insight into their own development must be the basis of the needs of survival: the general public; the same time, in order to de-ying out on top of all instries, using its own language is necessary to win the characteristics alone, eclectic art for the various categories have been used, and strive to achieve "from public art, do not in the public art", so that is not complicated, and unique. To attract attention, make it difficult to forget, and even "for their own god to" This is the crosstalk of the original ecological objectives, but also its rules of survival. Thus, from the put down to go to the stage, comic dialogues with Chinese opera performances a step by step become a spoken-word art, and eventually crown on the "traditional art" of the crown

热心网友 时间:2023-10-16 21:52

北京话这么说
。相声的实质,就是逗乐。串起来讲便是逗乐的玩意儿。 这个乐子,已经有百年的历史。它的发源,当初不过是为了混饭吃,不得不进行的场地口才表演。它的独特处,就在于游戏语言,使其能在起承转合中,经过伏笔,叙述,层层叠加,调动听者的兴趣,最后,令人捧腹大笑,达到精神的怡悦 从表面上看,无论单口、双口、群口,无非是“耍贫嘴”,彼此开涮,用大众趣味缓解人们的精神压力和生活困顿的烦恼,总之,利用语言让人们忘记烦恼,获得短暂的快乐,满足某种不可言说的逃避的享受。从这样的角度讲,相声一定意义上扮演了精神抚慰按摩师的角色 相声来自*的年代,出自“下三烂”的艺人之口。不登大雅之堂,没有精深的理论体系,因为对“苟且”活着的挣扎,所以相声的潜意识里蕴含着对“生”的渴求,对“生”戏谑的理解。 这样,相声的意义就有了极其复杂的人生态度。相声是苦中作乐的语言“把戏”。< 因为生的不易,挣扎的艰难,相声天生就具有了与众不同的成分。 它聪明的洞察了自身发展必须需要的生存基础:大众;同时,为了脱颖各行业之上而出,它利用自身仅靠语言就要取胜的特点,兼收并蓄各门类艺术为己所用,努力做到“来自众艺,别于众艺”,做到不繁琐,又独特。吸引眼球,使人难以忘怀,以至“为自己衣食父母”,这是相声原生态的目标,也是它的生存法则。 于是,从撂地到舞台,相声借助戏曲表演一步步成为了说唱艺术,并最终冠上了“传统艺术”之冕.

热心网友 时间:2023-10-16 21:53

Beijing says so
. The essence of crosstalk, is amusing. Speaking is amusing together. This fun, have 100 years of history. It originated in HunFan, however is to eat, the venue eloquence. It is unique, language, which can play in the transitions, through foreshadowing, narrative, layer upon layer overlay, mobilize the listener's interest, and finally, a laugh, achieve the spirit YiYue from apparently look, whatever stand-up, double mouth, performed, is "ShuaPinZui with each other", KaiShuan, public interest ease people's life and mental pressure of annoyance, anyhow, isexhausted using language make people forget worries, a happy and satisfied certain ineffable sufficiency of escape. From this point of view, crosstalk in the spiritual comfort as masseur characters from the unrest, crosstalk "dirty" from the mouth of the artist. Don't of profound theoretical system, not because they live in "struggle", so the crosstalk subconscious contains the desire to "life", "" the banter. So, the significance of crosstalk has extremely complicated attitude towards life. Crosstalk, or xiangsheng, is taking pains "tricks" of the language. "Because of the hard struggle is not easy, and has a distinctive crosstalk natural ingredients. It is wise to the development of insight to their survival foundation, mass, At the same time, in order to backed out, it instries above only by using their own language will win, inclusive characteristics of various categories of art, strive for the arts, "from", in the tedious, and it is unique. To attract eyeball, make the person that unforgettable "for their food and clothing parents", this is the original target, crosstalk live it. So, from LiaoDe to stage, crosstalk opera performance by step by step, and became rap art on the end of traditional art "crown".
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