2005年赵川与同仁们在上海创立“草台班”剧社，致力于推动中国民间立场戏剧，建设非牟利的公共空间和社会剧场美学。
Zhao Chuan co-founded Grass Stage Theater Company with his colleagues in 2005. It aims to develop a non-profit public space and new social theatre aesthetics in China.
他们同样疯狂痴迷于甜腻的流行音乐和电视通俗剧，但却缺乏个人志向，社会技能，甚至自我意识。
They share a deranged obsession with saccharine pop music and television melodramas, but are devoid of personal ambition, social ability or even self-awareness.
生活和社会都在不断变迁，肥皂剧也需要跟上时代。
Soaps need to remain contemporary: life and society are both constantly evolving.
这是一种日常的，成熟的社会认知，心理能力毫不费力的在与他人间复杂，肥皂剧般的关系中层层堆积。
This is the type of everyday, grown-up social cognition whereby theory of mind becomes effortlessly layered in complex, soap opera-style interactions with other people.
通过情景剧与社会问题的结合，沟口将五个不同人物的故事用统一的世界观贯穿在一起。
By mixing melodrama with social concern, Mizoguchi is able to follow five story strands while maintaining a world view that is consistently critical regardless of the individual outcomes.
事实是，19世纪与马克思同时代的查尔斯·狄更斯(Charles Dickens)和维克多·雨果(Victor Hugo)的社会批判主义作品，已经被非常成功地改编成两部载歌载舞的音乐剧——《雾度孤儿》(Oliver ！)
True, the social criticism of Marx's 19th century contemporaries Charles Dickens and Victor Hugo has been transmuted into two hugely successful all-singing, all-dancing musicals - Oliver!
很多情况下，故事情节的确被重复了无数遍，区别仅仅是经历的人物不同而已。生活和社会都在不断变迁，肥皂剧也需要跟上时代。
It is often very true that storylines are rehashed over and over, just with different characters. Soaps need to remain contemporary: life and society are both constantly evolving.
论证了莎士比亚在后期剧创作中，充分表达了那种以善化恶，以爱化仇的社会改良思想。
It proves that Shakespeare expressed the social improvement thought of kindness overcoming crime, love overcoming hate at his old age's writing.
本文通过分析传奇剧《暴风雨》的主题意义，分析了莎士比亚人文主义思想的局限性，即面对社会罪恶时所表现的和解妥协思想。
This paper analyses the Tempest's thematic meaning, and seeks to show the limitation of Shakespeare's humanism, that is, compromise in face of social crime.
90年代以来金庸影视剧的改编情况，其实是影视与文学、影视与社会、影视与时代文化之间关系演进的缩影。
In fact, the recomposition of film and TV plays of Jin Yong since the 1990s is the reflection of visual art between literature, society, and times.
在大学里，他学习经济学和社会学，参加校足球队比赛和校剧社的演出。
There, he studied economics and sociology, played on the football team, and acted in school plays.
日韩影视剧在中国的传播，为中国的经济、社会、文化等带来了一定的影响，也为中国大众文化带来了深刻的启示。
The spreading of those programs made some infection on Chinese economy, society and culture, and also bring profound illumination for Chinese popular culture.
并提出我国创作的音乐剧与国外的优秀作品之间的差距主要体现在思想深度上，尤其是在挖掘人性和社会批判的深度以及表现社会生活的厂度方面。
He also put forward the opinion that Chinese musicals lack of deep feelings, critical points of view and expression of the social life comparing to the foreign outstanding works.
20世纪最为出色的社会学家，欧文·戈夫曼曾提出“拟剧理论”。
Erving Goffman, the most excellent sociologist in 20th century once put forward the "Social Dramatic Theory".
长期以来，人们都把《获虎之夜》定位为社会问题剧，但把剧本深究下去的话实在很难服膺这一种说法。
The drama the Night of Catching the Tiger was always been regarded as a drama about social problems, however, it is difficult to adhere to this claim after going deeper into the script.
美国影视剧文化的传播对中国大学生的深刻影响已是社会关注的焦点问题。
The spreading of American films and plays has generated great influence on Chinese college students.
《火线》：如果说《朽木》展示的是整个社会如何齐心协力，那么《火线》，这部将背景设置在我们这个时代的电视剧讲述的却是一个伟大的美国城市如何分崩离析的故事。
The Wire: If Deadwood dealt with how society pulls itself together, but the Wire, set in our own time, concerned itself with how a great American city falls apart.
本文第三章主要是对热播剧的社会背景做简要分析。
The third chapter was a brief analysis between the hot TV series and its social background.
农业社会的文化水平相对较低，观众时刻准备接受煽情剧的观点。
The readiness to embrace melodrama is an offshoot of an agrarian society with relatively low levels of education and sophistication.
在这些作品中，尤以校园DV剧居多，且其影响已经走出了校园，深入到社会家庭的生活之中，并引起了一些主流媒体的关注。
In these works, especially in most of the campus drama DV and its influence has been out of the campus, into the lives of the home society and led to some mainstream media attention.
这部电视剧以“房奴”话题为主线却引发了有关当下社会情感选择问题的大探讨。
Although the main thread of the drama is about "mortgage slaves," it triggered a discussion about choice of love in the current society.
在当代社会生活中，只要打开电视机，各种题材、风格的电视剧扑面而来。
In the current social life, whenever TV sets are turned on, various TV series with all kinds of topics and styles pumpout.
80年代那时候，好莱坞不再爱小型社会电影，而爱上了大型昂贵的幻想剧。
This was in the 1980s and at that time, Hollywood studios were falling out of love with small socially-engaged films and falling in love with big expensive fantasies.
《敌营十八年》作为我国第一部本土化的电视剧历经27年后进行了翻拍，在央视播出后引起了社会广泛关注。
"Di Ying eighteen years" as China's first TV series after 27 years of localization after the adaptation was broadcast in the CCTV and aroused extensive attention.
《敌营十八年》作为我国第一部本土化的电视剧历经27年后进行了翻拍，在央视播出后引起了社会广泛关注。
"Di Ying eighteen years" as China's first TV series after 27 years of localization after the adaptation was broadcast in the CCTV and aroused extensive attention.
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