1) the Zaju style
杂剧体例
2) plays
[英][plei] [美][ple]
杂剧
1.
On the calls for the imperial examinations by the underlings in the plays of Yuan;
呼唤科举:元杂剧中下层文人的生命呐喊
2.
Through comparisons between the figure of Li Cunxiao in plays, in the New Edition of Tales from the Five Dynasties and in Historical Novels of Late Tang through the Five Dynasties, this paper points out that Li Cunxiao is the primary protagonist of plays and novels.
杂剧、《新编五代史平话》和《残唐五代史演义传》中均有李存孝形象,但杂剧和《残唐五代史演义传》保存了民间讲史的基本内容,而《新编五代史平话》的改编写定者则参考史籍,对讲史内容作了重大调整,在主题与结构上向正史靠拢,可以看作是古代通俗小说文人化的肇始。
3.
Ma Zhiyuan s experience and plays show that Autumn in Palace is not to express the nation s emotion but it is a tragedy for the scholars at that time.
马致远的生平经历、散曲创作及其杂剧创作表明,他的代表作《汉宫秋》杂剧主要不是在表现民族情绪,而是一部元代文人的时代悲剧,是马致远这个传统文人的人生悲剧。
3) drama
[英]['drɑ:mə] [美]['drɑmə]
杂剧
1.
Guan Hanqing s dramas play an important role in Chinese drama history because of their rich contents,large quantity and perfect style.
关汉卿的杂剧创作因其内容丰富、数量众多、体制完备而在我国戏曲史上占有重要的地位。
2.
The vocal mimicry in Yuan dramas is a problem to be further discussed.
杂剧中的口哨是值得深入探讨的问题。
5) za ju
杂剧
1.
The Important Status of Dongping Shandong in the Development of Za Ju During the Previous Period of Yuan Dynasty;
山东东平在元前期杂剧发展中的重要地位
2.
Impact of the Neo-Confucianism on Za Ju
论宋元理学对杂剧发展的影响
6) poetic drama
杂剧
1.
In Guan Hanqing s poetic drama,various females of distinctive characters are portrayed,and great attention is paid to their living conditions and fate.
关汉卿的杂剧极为关注女性的生存状态和人生际遇,为人们描绘了千姿百态的女性形象。
2.
However, thorough study reveals that the scholars in Yuan Dynasty, who started with the stylistic evolution, did approach the stylistic characteristics of the poetic drama and the relationship between its origin and development, thus setting up the framework by stages of Yuan Dynasty and.
与元杂剧创作的繁盛相比较,元代没有相称的戏曲理论。
补充资料：驾头杂剧闺怨杂剧
jiatou zaju guiyuan zaju
驾头杂剧闺怨杂剧
元杂剧的分类名目。元末夏庭芝《青楼集》列当时杂剧名目有驾头、闺怨、花旦、绿林、公吏、神仙道化等类别。
驾头杂剧,是指有皇帝出现的剧目。驾头,亦名宝床,是皇帝的座椅，有龙绘装饰。宋、金皇帝出巡时，老内侍抱驾头于马上，走在皇帝乘舆之前，于是驾头便成为皇帝的一种标志。元杂剧中，如《伊尹扶汤》、《比干剖腹》、《梧桐雨》、《汉宫秋》、《遇上皇》等剧目，都有“驾”（皇帝）出现，故都属驾头杂剧。驾头杂剧多为“末本”，属“披袍秉笏”一类（见明朱权《太和正音谱·杂剧十二科》，即后世所谓皇帽戏或袍带戏）。为了杜绝某些有损封建最高统治者形象的现象发生，明初对驾头杂剧的演出限制很严。据明代顾起元《客座赘语》卷十《国初榜文》载，永乐九年（1411）七月规定“但有亵渎帝王圣贤之词曲驾头杂剧,非律所该载者,敢有收藏传诵印卖，一时拿送法司究治”。
闺怨杂剧，指以表现“闺中怨女”生活为主要内容的杂剧。这类杂剧以关汉卿的《闺怨佳人拜月亭》最为有名。
（吴国钦）
说明：补充资料仅用于学习参考，请勿用于其它任何用途。
参考词条