1.
Li Yu's Opera Organizing Theory and His Novel Writing
李渔戏曲结构布局理论与其小说创作
2.
The Study of Two-lane Structure in Chinese Long Classical Opera;
中国古典长篇戏曲中的双线结构研究
3.
The Centralized Ken Structure of Chinese Drama and Goulanwashe;
勾栏瓦舍与中国戏曲的一元化视界结构
4.
Kun Opera and Nohgaku-On the Stage Structure and Performing Form of Sino-Japanese Traditional Opera;
昆曲与“能”——试论中日传统戏曲的舞台结构与表演形态
5.
A Comparison Between Novels of the Tang Dynasty and Related Drama of Succeeding Periods;
结构的转换——唐代小说与后世戏曲相关作品的比较研究
6.
On Preface and Postscript in Yuan Dynasty Opera for Building Opera Theory
论元代戏曲论著序跋在戏曲理论建构中的功用
7.
the curve structure and projective structure of the normal quadric surface;
常态二次曲面的曲线结构和射影结构
8.
A great poet's devotion to Kunqu opera--on Wu Weiye's opera writing
大诗人的昆曲情结——论吴伟业的戏曲创作
9.
Cultural Implication and Historical Destination of the Stylization of Traditional Opera;
戏曲程式的文化蕴涵与历史命运——兼论现代戏曲符号体系的建构
10.
On Facial Sketch in Opera: Images and Expressions;
试论戏曲脸谱的意象营构与表情体验
11.
The Influence of National Aesthetic Pursuit on the Form of Opera
民族审美崇尚对戏曲形态构成的影响
12.
The wooden frame warped in the humidity.
木架结构因受潮而弯曲
13.
When he created a Chinese oral theatre, he adopted elements from ancient masked drama, shadow plays and the dancing, singing and drumming traditions.
他创作的中国话剧结合了中国古代的傩戏、皮影、戏曲和说唱。
14.
The Native Cultural Operas in the 1990s China;
大文化视角下的乡土情结——20世纪90年代戏曲乡土文化戏浅论
15.
After the war, Berlin continued to write songs for movies and plays.
战争结束后，伯林继续为电影和戏剧创作歌曲。
16.
Modern Chinese Intellectual s Complex Feelings towards Traditional Opera;
中国现代知识分子对于传统戏曲的复杂情结
17.
On the Concept of Performers′Cultivation by“Combing Their Inner World with the Outside”in Ancient Chinese Opera Theories;
论中国古代戏曲理论“内外结合”的演员修养观
18.
The Original Exploration of the Affixation Complex-tone Words’s Word-building Manner in the Tang Xian-zu s Play Works;
《汤显祖戏曲集》附加式双音词构词法初探