这里有一个在卡罗尔更好看，在戏剧形象，从1923年3月。
Here's a better look at Carroll, in dramatic profile, from March 1923.
这是因为他戏剧中感人肺腑的情节和栩栩如生的人物形象。
This is so because his plays have good plots and life-like characters.
通过分析戏剧人物话语角色的转换来剖析人物的内在意图，可以深入人物内心，帮助理解人物形象的塑造。
An analysis of the characters discourse role switching in drama will help delve into his inner world, thereby shedding light on the characterization.
活宝塔、中国大夫等滑稽而奇异的形象开始活跃在法国戏剧舞台之上。
Living pagodas, Chinese doctors and other exotic Chinese figures became active on the French drama stage.
每个人都是由一系列戏剧般的形象组成，这些形象层层叠加，直至无穷，最终包裹在无限小的薄膜当中。
Each human being is composed of a series of images folded into infinite layers and contained within a thin membrane.
索福克勒斯和欧里庇得斯创作之不同，主要表现在人物形象的塑造、常用的创作手法、剧情的结构和戏剧精神等方面。
The differences of Sophocles and Euripides' creation mostly lie in the molding of character's image, the used creative tactics, the plot structure and the spirit of the drama, and so on.
福斯塔夫是莎士比亚戏剧中一个最完美、最逗人喜欢的喜剧形象。
In Shakespeare's dramas, Falstaff is the most perfect and attractive comical figure.
在戏剧《哈姆雷特》中运用反衬艺术，莎士比亚精心地塑造了三位儿子的生动形象，即雷厄提斯、弗廷布拉斯与哈姆雷特。
Shakespeare, through his literary art of contrast, elaborately creates three son images in his play Hamlet, namely: Laertes, Fortinbras and Hamlet.
人们仍然认为在戏剧或电影中再现基督的形象是不妥当的。
It is still not considered proper to portray Christ in a play or film.
本文力图探讨过去二十年中，一些新加坡戏剧家如何定义，如何培养与多元文化相对的民族形象。
This article seeks to question how some Singaporean theatre practitioners attempt to define and foster a national image vis-à-vis interculturalism during the past two decades.
杨玉环是一个历史人物，后来又成为诗、文、词、赋、曲、小说、戏剧、民间传说乃至神话故事的文学形象。
Yang Yuhuan was a historical figure who became a literary image in later writings, including poetry, prose, fiction, drama, folktale and even fairy tale.
第二章主要从音乐和戏剧两因素分析作曲家如何对柳儿人物形象进行塑造，和歌唱表演者如何进行二度创作；
The second chapter analyzes how the composer developed the image of Liu and how the actors and singers should re-compose it.
围绕这一形象展开的独特的戏剧冲突，具有广泛而深刻的社会意义。
The dramatic conflict centered on this character has extensive and profound social significance.
从命运凄惨的情侣、悲剧性的嫉妒，到一厢情愿的迷恋和浪漫的追求，爱情在他的戏剧和诗歌中幻化出无数的形象。
From star-cross'd lovers and tragic jealousy to unrequited passion and romantic courtship, images of amour are evoked in myriad ways in his plays and poems.
在四大名著成书前后，与之关系密切、互为渊源的戏剧，以其立体化、形象化的形式，在舞台上演绎和诠释四大名著中的故事。
Before and after these four books, dramas that had close relationship with them annotated the stories among these books in a visualized way on the stage.
鬼魂形象所具有的超自然力被戏曲艺术家“提升”为“以虚用实”的艺术表现力，在结构剧情、营造戏剧情境上发挥出巨大作用。
The function of the ultra natural force is enormous in the structure story and building drama situation where the dramatists promotes of ghost's image by using the real artistic expression timidly.
本文旨在论述“美国戏剧之父”——尤金·奥尼尔透过其独特的视角所塑造的典型女性角色形象。
The thematic focus of the thesis falls upon the similarities shared among some of the major heroines delineated by the celebrated American dramatist Eugene O'Neill.
而戏剧性的话语建构的最终实现，必须依靠意象形象转换和语言符号转换才能完成。
However, the final realization of histrionic discourse construction should rely on the switchs between images and language signs.
同时在形象角色化展现上夹杂着生活化、戏剧化、妖魔化、理想化的多层面叙写。
While the role of the image displayed on a mixture of everyday life, dramatic, demonized, the descriptions multidimensional ideal.
酒店空间以大地色系为主，以牡丹丹青壁画、戏剧人物形象为文化穿引，点睛之处，惊喜颇多。
Hotel space is given priority to with the earth color, with peony painters murals, drama characters wear lead to culture, eyeball, there were many surprises.
以几部莎士比亚戏剧和中国古典戏剧中表现女性形象的意象为着眼点，分析意象的特征和它们在两种戏剧中的异同点。
This paper discusses the imagery used in the characterization of heroines in the love theme of Shakespearean drama and traditional Chinese drama.
小说借鉴了戏剧、戏曲等艺术表现手法，体现在小说故事情节喜剧化，人物形象脸谱化，小说环境舞台化。
This paper makes an analysis of its borrowing of artistic techniques from the traditional opera, namely comedic plot, facial designs of characters and environmental stages.
所谓的“歌剧角色的舞台形象塑造”并不是仅仅指“舞台造型”，而是包括了演唱和戏剧表演在内的完整的舞台行为。
A Mozart, and the screenwriter is Lorenzo da Ponte. It is not only stage image mold or stage modelling, but also included singing and acting.
猪八戒在表面上表现出来的是“呆”，但更多时候表现出来的是几分精明能干，正是因为这种“呆”与“不呆”造成了猪八戒形象的戏剧性。
Zhu Bajie, on the surface, show to the "bad", but more often the performance is a bit smart and competent, it is because of such "bad" and "bad" Zhu Bajie caused a dramatic image.
在和声的表现性方面，以结合舞剧的戏剧性特点为出发点，通过场景、剧情、人物形象这两条线索进行研究。
For the expression of harmony, I start from the dramatic features of dance drama and study it from the following two clues: scenes plot and figure images.
而文学评论界、戏剧界在该剧作体裁、人物形象等方面的争论一直持续至今，这也是作家给我们留下的一个谜团。
And the disputes over the genre, the characters and the other factors of this work from literary criticism and theatre circles have been continuing up to now.
而夹杂着生活化和戏剧化的叙写笔调，承载着形象的多层面展现。
The mixture of daily life and the descriptions of theatrical style, carries the image of the multi-dimensional display.
而夹杂着生活化和戏剧化的叙写笔调，承载着形象的多层面展现。
The mixture of daily life and the descriptions of theatrical style, carries the image of the multi-dimensional display.
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