李渔是中国古代著名的戏曲理论家。
李渔的戏曲理论一直为人所关注、所研究。
No matter dead or alive, Li Yu's opera theory has always been concerned and researched.
之后，骈俪派正式浮出曲坛，并受到了诸多戏曲理论家的集中关注。
Then Pianlipai come out in the field of opera and scholars of theory pay attention to it.
文中对越中派戏曲理论观点主要概括为三部分：本色论、当行论和戏曲史论。
The major points of drama theory can be summarized as the theory of prototype, the theory of trait of work and the theory of drama history.
但探讨其戏曲理论与创作成就的较多，论及其小说创作特别是小说理论的较少。
Yet what is focused most is his traditional opera theory and his achievements in literary creation, very little attention is paid to his creation of novels, especially his theory of novel creation.
清代李渔本是戏曲理论家和作家，他对养生保健也很有研究，尤其注重心理情志养生。
LI Yu from the Qing Dynasty was opera theorist and writer. He also paid much attention to health care, especially to the regulation of the psychological and emotional state.
李渔崇尚通俗的戏曲接受观不仅具有建构戏曲理论的价值，而且具有匡时济俗的现实意义。
Li Yu's dramatic reception theory of stressing the popularization had not only the value of establishing the drama theory but also the practical significance of rectifying mistake.
汤显祖的作剧理论具有“自成体系”、“富有实践性”、“哲理深度”三大特色，是我国戏曲理论的宝贵财富。
Tang Xianzu's theories of writing drama have the following three characteristics: "having a system of his own", "rich in practicality" and "depth of philosophy".
“关目”是中国古典戏曲理论中的一个重要概念，是指作品中能够体现生活的独特性和艺术的独创性的情节构思。
Guanmu "is a significant notion of traditional Chinese drama theory, which refers to an innovative plotting perfectly expressing the uniqueness of life and art."
戏曲表现现代生活是这个理论的核心内容之一。
Opera to reflect modern life is the important part of this theory.
同样，在戏曲研究中，西方的理论也时常被当作具有普世意义的绝对标准，并以此来衡量、要求中国本土的事物。
Similarly, in the field of Chinese opera studies, western theories have been regarded as the only universal criteria to judge and evaluate the local operas in China.
雅俗批评是古典戏曲的基本批评理论之一，它在明代得到较充分的运用和阐说。
The refined and popular criticism is one of the basic critical theories of classical dramas.
实践、理论、舞台积淀，是衡量传统戏曲对中国话剧舞台艺术产生影响的三个方面。
Practice, theory, and accumulation of performance are three aspects to measure the influences of traditional Chinese opera on Chinese modern drama stagecraft.
所确立的“三分法”为中国戏曲音乐各种板式的归类，阐明了实践与理论依据。
The three-type dividing method provides both practical and theoretical basis for the division of various types of beats in music of traditional Chinese opera.
从事文艺编导方向要学习电视节目制作技术、策划与研究、文学戏剧理论、视听语言、戏曲、舞蹈、音乐、影视精品赏析。
The direction of art director in television production techniques to learn, planning and research, literary theory of drama, visual language, drama, dance, music, film quality appreciation.
中国古代戏曲中的形神理论，是关于舞台人物形象塑造的指导性理论。
The expression-spirit theory of Chinese ancient opera, is a guiding theory of creating character image on stage.
即使一些谈论戏曲悲剧的论述，也常常会先加上一个前提，不打算“套用西欧悲剧理论来厘定中国悲剧”或是“不采取这一狭义的悲剧定义”。
Even there are some articles about tragedy in Chinese opera, the author always state that the argument is not under the narrow definition of tragedy .
强烈的时代感、对戏曲接受者的重视、戏曲的实践意识贯穿其理论始终。
Strong time spirit, emphasis of the audience and drama practice view could be found in his theories.
李渔是唯一一个自觉地站在戏曲艺术本体的高度去关注戏曲艺术实践的理论家。
Li Yu is the only one with conscious art practice theory at the height of opera art noumenon.
主持过的节目包括新闻，理论，专题，文学，音乐，戏曲等，是播音的骨干力量。
MS Fan is the leading presenter and hosting a large variety of programs, including News, Theory, Literature, Music and Dramas.
他的小说、戏曲藏书为研究提供了新资料，他的小说、戏曲批评理论研究拓宽了中国文学批评史研究的领域。
His collection of books provides new data for the research. His research on novels, critical theories of plays broadened the research scope of the history of Chinese literary criticism.
儒家学说“注重风教”的观点对于古代戏曲导演理论的影响至深至远。
The Confucian concept of attaching importance to enlightenment by education made a far-reaching impact upon the ancient Chinese theory of directing.
问题在于，戏曲研究虽无法不借重西方学术的一些观念和方法，但戏曲艺术本身却又与西方的戏剧理论不尽吻合。
The problem is that although opera studies have to borrow western ideas and research methods, the local operas themselves cannot be entirely measured up to western theories.
问题在于，戏曲研究虽无法不借重西方学术的一些观念和方法，但戏曲艺术本身却又与西方的戏剧理论不尽吻合。
The problem is that although opera studies have to borrow western ideas and research methods, the local operas themselves cannot be entirely measured up to western theories.
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