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1)  On Li Yu s Opera s Theories
李渔戏曲理论解读
2)  Li Yu's drama theory
李渔戏剧理论
3)  Liyu s Viewpoints on Opera
李渔的戏曲观
4)  The Research of LiYu s Dramatic Theory
李渔曲论研究
5)  dramatic theory
戏曲理论
1.
LIYu dramatic theory was embodied mainly in his There were sometimes leisurely to be reposed.
李渔的戏曲理论主要体现于其所作《闲情偶寄》中。
2.
With dramatic theory of Li Yu,taking "Peach Blossom Fan" of Kong Shang Ren for example,dramatic theory and creation of Qing Dynasty are up to a new peak.
从李渔的戏曲理论出发,以孔尚任的《桃花扇》为例,对"传奇"的界定,《桃花扇》的结构、语言等方面作了一定的分析研究。
6)  opera theory
戏曲理论
1.
Research on Li Yu s opera theory and audience orientation in opera writing;
李渔的戏曲理论与创作中的观众学初探
2.
His opera theory is mainly collected in the On Poems and Verses and On Performance and in part of On Vocal and Facial from Xian Qing Ou Ji,as well as some can be seen in his poems or rhapsody or articles or rhymed verses, Kui Ci Guan Jian for example.
 李渔是我国明末清初杰出的戏曲理论家,他的戏曲理论主要集中在《闲情偶寄》的《词曲部》、《演习部》以及《声容部》中,也有少数戏曲理论散见于其诗文词赋中。
3.
The literary thoughts, as an important composition of Hu Yinglin's academicthoughts, ranges broadly from novel theory, poetics to opera theory.
胡应麟的文艺思想是其学术思想的重要组成,其内容广泛,包括小说理论、诗歌理论、戏曲理论三个部分,其各体理论不仅自成体系,且其中思想观点与研究方法多有创新。
补充资料:李渔(1610-1680)
清初戏曲家。字笠鸿、笠翁、谪凡,浙江兰溪人。曾为幕宾。后迁居南京,以家姬组成戏班,在达官贵人间演出。著有《闲情偶寄》,论述戏曲、饮食、园艺等。传奇有《奈何天》、《比目鱼》、《风筝误》等十种,合称《笠翁十种曲》。另有短篇小说集《十二楼》、《无声戏》等。
说明:补充资料仅用于学习参考,请勿用于其它任何用途。
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