上场诗是元杂剧重要的戏剧要件。
The entrance poetry is an important component of the Yuan Poetic Drama.
元杂剧中蕴含着丰富的丧葬文化。
It contains abundant funeral culture in the proto-drama in the Yuan Dynasty.
忽必烈时代是元杂剧成熟并繁盛的时期。
The Times of Kublai Khan was the mature and flourishing period of Kublai Khan Yuan Zaju.
神仙道化剧乃元杂剧中的一个重要门类。
Immortal-taoism opera is important in Zaju of the Yuan Dynasty.
元杂剧历史题材剧的繁荣兴盛令人瞩目。
The prosperity of historical drama in the Yuan Dynasty is compelling.
文章探讨元杂剧的鬼魂戏和元代的祭祀习俗。
This article mainly studies the Yuan Drama from the angle of the custom of offering sacrifices to gods and ancestors.
关汉卿，大都人，是元杂剧作家中最杰出的一位。
Guan Hanqing was born in Dadu. He was the most prominent dramatist of the Yuan Dynasty.
本文从四个方面探讨了元杂剧中文人隐逸的积极心态。
The scholars' active solitude psychology in the poetic dramas of Yuan dynasty is reflected in four aspects.
第一章主要是比较元杂剧水浒戏与小说《水浒传》的背景与主题。
The first part makes a comparison on Chinese opera about the Shuihu in the Yuan dynasty and All men are brothers about the background and theme.
该文主要从儒家文化和市井文化的角度来论述元杂剧的妇女形象。
This paper discusses mainly the women images of the Yuan Opera in the perspectives of Confucian culture and pop culture.
这几种曲唱形式在北曲乃至元杂剧形成的过程中发挥了重要的艺术功用。
These songs had played important artistic roles in the process of the formation of songs in north China and dramas in Yuan Dynasty.
元杂剧把音乐、歌舞、表演、念白a融于一体，是比较成熟的戏剧形式。
It was already a relatively matured form of drama integrating music, singing, dancing, performing and speaking.
元杂剧、明清传奇和欧洲传统戏剧都是文学的戏剧，地方戏是表演的戏剧。
Zaju of Yuan, legends of Ming and Qing and traditional European operas all belong to literary drama, while local operas are performing drama.
《汉宫秋》位列元杂剧四大悲剧之一，是我国古代戏剧中的一部著名悲剧。
"Han Gong Qiu" is one of the four major tragedies of Yuan Dynasty, is a well-known tragedy of the ancient Chinese drama.
元杂剧是一种把音乐、歌舞、动作、念白(对话、独白)相结合的综合艺术。
Yuan drama combined music, dancing, acting and speaking (dialogue and monologue) all together.
元杂剧三国戏的人物形象塑造中寄寓着元代士人的独特文化心理与人物美学理想。
The characterization of the Three Kingdoms plays in the Yuan poetic drama represents the particular cultural psychology of the Yuan scholars and the aesthetic ideal of dramatic characterization.
戏曲学是20世纪新兴的学科，元杂剧研究是戏曲学学科中最有成绩的学术门类。
The studies of traditional Chinese opera are a newly-established discipline in 20th-century Chi- na, of which the Yuan Opera studies are the most fruitful field.
元代文人心态也是近年学术界研究的一个热门，他们的心态在元杂剧中得以展现。
The mentality of literati of the Yuan Dynasty has been a hot issue for academic research recent years. Their mentality was given display in the variety plays of the Yuan Dynasty.
戏曲学是20世纪新兴的学科，元杂剧研究是戏曲学学科中具有成就的学科门类。
The studies of traditional opera are a newly-established discipline in 20th-century China, of which the Yuan Opera studies are the most fruitful field.
元杂剧表现智谋，原因较复杂，择要而言，有文学传统、文体优势、现实背景等诸方面。
The cause of Yuan plays expressing the resourcefulness was more complicated, but in short embodied in such aspects as the literary tradition, style advantage and realistic background.
后为元杂剧的唱曲起了定型作用，并为之提供了基本的乐调和曲牌，奠定了本色美的艺术特征。
It helped fix the form of the Qu of the Zaju and provided primary tunes and names for the Zaju, which laid the foundation for the artistic feature of original beauty.
元杂剧宾白中的内心独白又具有自我对话的性质，形成复调叙事的独特韵味，也更有艺术真实性。
The monologue in the spoken parts of Yuan's poetic drama bears the features of self dialogue and is the renarrration, which further shows the artistic authenticity.
明代内府杂剧在体制上继承了元杂剧的传统，体现出程序化和规范化的特点，且有一定的创造性。
The court Zaju in the Ming dynasty systematically inherited the tradition of Zaju in the Yuan dynasty, showing new characteristics of stylization, standardization and, to some extend, creation.
第二章阐述元杂剧中体现的商业观念。分为三小节：一、金钱财富观，二、商业道德观，三、商业经营观。
The second chapter is about the commercial idea which reflected in "the Northern Dramas" in Yuan dynasty: view about money and Wealth, commercial moral concept, view about management of commerce.
第四，一角独唱体制还影响着作品的叙事线索，使得元杂剧基本都是单线叙事，而不能形成双线或多线叙事。
The last, the system also influence the narrative clew, which made Yuan-zaju basically lonely narration, and can't form crewel or more line narration.
第四，一角独唱体制还影响着作品的叙事线索，使得元杂剧基本都是单线叙事，而不能形成双线或多线叙事。
The last, the system also influence the narrative clew, which made Yuan-zaju basically lonely narration, and can't form crewel or more line narration.
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