1.
On the Spirit of Singing Creation and Establishment of Yue Opera School
论演员的创腔精神及越剧流派的创建
2.
Zhou Xinfang performs in the Shanghai opera style rather than the Beijing opera style.
周信芳在京剧流派中是属于海派而不是京派。
3.
As enemy attacks increased, more and more reinforcements were dispatched to the front.
由于敌军进攻加剧，越来越多的援军被派遣上前线。
4.
Development of Shaanxi Local TV Series;
陕派地域文化电视剧的发展流变(上)
5.
Development of Shaanxi Local TV Series
陕派地域文化电视剧的发展流变(下)
6.
On the Poem School Surmounting the Romanticism in Its Starting Period;
论诗文学派对草创期浪漫主义的超越——朝鲜现代文学流派研究
7.
The more the circulating water flow is,the more intense the turbulence is,and the higher the average temperature in the lock hopper is.
锁斗循环水量的影响很显著,循环水量越大,锁斗内湍流程度越剧烈,锁斗内平均温度越高;
8.
"In the first half of the 19th century, as the popularity of the new Peking Opera increased, four 'Great anhui Companies' dominated the Beijing stage."
19世纪前半期，新出现的平剧越来越流行，四大徽班主宰了京城的舞台。
9.
The population on earth is increasing rapidly, and with the developmcnr of modern industry, more and more people are flowing into cities.
地球上的人口在急剧增长，随着现代工业的发展，越来越多的人口流入城市。
10.
The tragedy of Beijing Group is implicative- the smiling tragedy.
京派的悲剧是含蓄的，是“微笑的悲剧”。
11.
Elementary Approach to Unisku s Drama --Supplementary Approach to Drama of the Absurd;
尤奈斯库戏剧浅谈——兼论荒诞派戏剧
12.
Preliminary Probe into Musical Thoughts of 100-year Shaoxing Opera-On the 100~(th) Anniversary of Shaoxing Opera;
百年越剧音乐思想初探——写在越剧华诞百年之际
13.
Transcended Tragedy and Transcendence of Tragedy--On Modernism in the novel The Midnight;
超越的悲剧与悲剧的超越——论《子夜》的现代性
14.
Moreover, each main group tends to regard its own special god as superior to the others, so that there is no uniquely recognized order of importance.
此外，每一个主流派会认为自己崇拜的特殊神要比其他神优越，因此没有特别公认的排序。
15.
a story never loses in the telling.
流言蜚语越传越离奇。
16.
social dancing became more popular.
交谊舞越来越流行。
17.
A Comparative Study on Beijing-sitcom, Shanghai-sitcom and Their Cultural Backgrounds;
京派海派情景喜剧及其地域文化背景比较研究
18.
Judging the Antiplay Characteristics of the Theatre of the Absurd from "Waiting for Godot";
从《等待戈多》看荒诞派戏剧的反戏剧特征