33508 theatre cinemaconcert

ancient greek theatre

ancient greek theatre
... words theatre and amphitheatre derive from the Greek word theatron, which referred to the wooden spectator stands erected on those hillsides Similarly, the word orchestra is derived from the Greek ... after years of religious dicta ancient Athens resembled Renaissance England, which not coincidentally spawned the next great era in theatre In essence, the ancient Athenians had begun to question ... and the Theatre of Dionysus in Athens The Theatre of Dionysus, built at the foot of the Acropolis in Athens, could seat 17,000...
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English Grammar Tests-Elementary Level''''s archiveChit Chat: In the theatre ppsx

English Grammar Tests-Elementary Level''''s archiveChit Chat: In the theatre ppsx
... was really good in that Oh look, he's suddenly stopped and started glaring glazing glancing glossing 10.Michael Dobson: I'm very , ladies you know who I am Now can you stop talking so that we ... listen to the of his voice now noise speech sound roar 4.Mary: The trouble is I always his name forget forbid forego forefend 5.Alice: I think his first name is Michael but I can't remember the ... Dobson Certainly Surely Naturally Obviously 7.Alice: Yes, you're right I've seen him on tv loads of times fully alive dead clear 8.Mary: Yes, Michael Dobson he was in that new as the detective...
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a trip to the theatre 2

a trip to the theatre 2
... was an actor in a theatre group The group travelled around the country, performing in theatres  After lunch, Jake and his mum went to the theatre to meet Stewart Stewart was going to take them ... on a tour of the backstage area, before they watched the play As they arrived, Jake looked up at the theatre s large sign All around the entrance, there were posters that showed the dates and ... Greatest Superteam Theatre Facts The ancient Greeks performed their plays in large outdoor theatres called amphitheatres The actors wore masks to represent their characters Medieval plays were first...
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The mulian play in singapore kiew lee tong temple a case study of chinese ritual theatre 2

The mulian play in singapore kiew lee tong temple  a case study of chinese ritual theatre 2
... Manifestations in Singapore and Malaysia”, in Sino-Malaysiana: Selected Papers on Ming & Qing History and on the Overseas Chinese in Southeast Asia 19 42- 1988 (Singapore: South 34 经》,说明琼瑶仙教的创教源起、信奉的神明和该教济世救民的方法与仪式。 ... 余淑娟〈戏曲赞助与街戏的变迁:以新加坡韭菜芭城隍庆典为例〉,见《民俗曲艺》 第155期 20 07), 22 7 -26 4。 18 附录1.5.:重修告竣立碑志(1998)。 19 Kenneth Dean and Zheng Zhenman, “Group Initiation and Exorcistic Dance in the Xinghua Region”, in Journal of Chinese Ritual, Theatre and Folklore, ... (1995),页47。 20 学界原先对于九鲤洞的信仰有不同的解读。1970年代,德国学者傅吾康( Wolfgang Franke)在从事福建地方性教派“三一教”的研究时,将九鲤洞琼瑶仙教归入林兆恩的 三一教 。见 Wolfgang Franke, “Some Remarks on the ‘Three -in- One Doctrine’ and its Manifestations in Singapore...
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The mulian play in singapore kiew lee tong temple a case study of chinese ritual theatre 3

The mulian play in singapore kiew lee tong temple  a case study of chinese ritual theatre 3
... 林庆熙〈漫谈福建莆仙戏《目连》〉,见《福建目连戏研究文集》(福州:福建省艺 术研究所,1991), 33 。 陈翘〈莆仙戏《目连》〉,见《福建目连戏研究文集》(福州:福建省艺术研究所, 1991),页127。 叶明生《莆仙戏剧文化生态研究》(厦门:厦门大学出版社,2007), 36 9 -37 3。 口述历史访谈:2005 3 18日,访问对象:黄亚松,地点:黄氏Binchang Rise住 宅。九鲤洞的目连戏戏簿,一说是“得月楼”留下的。容世诚、张学权根据口述历史资 ... 子就是被田仲一成视为“冤鬼镇魂剧”的《窦娥冤》,在明代曾经是作为祈雨的宗教仪 式剧。康保成〈回归案头--关于古代戏曲文学研究的构想〉,见《文学遗产》第1期 (2004),页16。 32 郑之珍《新编目连救母劝善戏文三卷》(台北:天一出版社,1985),上卷 34 38 /9。 33 同上注,页58-60。 34 指目连问狱官如何报答母亲生产之恩,狱官答以:“若世上有孝男女持血盆三年十月 满日忏悔,便有般若船载过奈河讲,使罪人可以超升。” ... 叩拜诸佛龙天,罗卜母亲,罪愆脱身,阿弥陀佛。瓦娘亲,早脱 离,弥陀佛。阿弥陀佛。南无阿弥陀佛 38 罗卜的行为是代替母亲,忏悔她所造的过错。忏悔也是佛教修行中的一个 36 37 38 丁福保《佛学大辞典》(台北:天华出版事业有限公司,2004),页840。 莲华生著、徐进夫译《西藏度亡经》(北京:宗教文化出版社,1995),页48- 53 同注(14),第二本,页25-26。 84 重要法门。忏悔的方式,是透过对于特定神祗的叩拜,祈求天地神祗、三官大...
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The mulian play in singapore kiew lee tong temple a case study of chinese ritual theatre 4

The mulian play in singapore kiew lee tong temple  a case study of chinese ritual theatre 4
... 应靖元音法坛的陈义涛前來主持道教法会。历年的经筵主事如下表所示: 年份 经筵 资料来源 1 944 恒清坛卢大和(万山街13号) 戴文荣口述 19 54 郑明源等本地经师 九鲤洞第二届逢甲大普度纪念碑 19 64 郑明源等本地经师 黄亚松口述 19 74 马来西亚居銮珠光书院13 黄亚松口述 19 84 马来西亚居銮珠光书院 黄亚松口述 19 94 中国莆田三江口玄应靖郑玉春道长 九鲤洞第六届逢甲大普度资料 20 04 中国莆田兴化府玄应靖元音法坛 ... “青云亭”的高僧主持。第六届佛教道场改由新加坡普照寺广玄法师主坛。18第 七届则是由莆田如明法师主法。历年的忏筵主事者,参下表: 年份 忏筵 资料来源 1 944 马六甲青云亭 陈玲玲论文,页59。 19 54 马六甲青云亭 寂晃长老口述 19 64 马六甲青云亭 寂晃长老口述 19 74 马六甲青云亭 寂晃长老口述 19 84 马六甲青云亭 田仲一成 19 94 新加坡普照寺广玄僧 九鲤洞第六届逢甲大普度资料 16 同注(9)。 杨美《古囊名剎》(福州:海潮摄影艺术出版社,1998),页236-237。 ... 同注(9),页6 34 又陈紀联〈莆仙目连戏摭拾〉,见福建省艺术研究所编《福建目 连戏研究文集》(福州:福建省艺术研究所,1991),页53-65。 95 12 19 54 第 二 届 逢 甲大 普度 ,九 鲤洞转 而聘 请马 来 西亚 “霹 雳 州” (Perak State)“实兆远”(Sitiawan)的“三一教”经师前来主持。据黄亚松表示,九 鲤洞聘请三一教经师的原因是,早期三一教经师的出身较高,熟读经册,让人 信赖。早年的新加坡没有三一教经师,因此只得就近从马来西亚的实兆远聘...
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The mulian play in singapore kiew lee tong temple a case study of chinese ritual theatre 6

The mulian play in singapore kiew lee tong temple  a case study of chinese ritual theatre 6
... River 或 Sungei Kallang)的上游,从贝雅士蓄水池下池 (Lower Pierce Reservior)开始,朝东南流经大巴窑(Toa Payoh),再从加冷盆 地(Kallang Basin)出口,流向滨海湾(Marina Bay),通向大海。据说这些鬼 路灯就是透过这条水道,从世界各地水路而来的诸鬼带到九鲤洞。 逢甲大普度期间,幡灯内需点上油灯,晚间得时时添油,不使灯灭。为 ... 铃作响,似乎有昭示诸鬼的用意。幡竿下得摆设油灯一盏和香炉一个。 162 图 20:矗立在九鲤洞庙墙边的风幡 鬼路灯共八盏。灯上书写“逢甲大普度”、“大放光明”等字。这八盏鬼 路灯是从碧山公园(Bishan Park)旁的大水沟开始安置,并以目视能见的距离, 逐渐引向九鲤洞。碧山公园的这条大水沟,平常呈现干涸的状态。它是长达十 公里的加冷河(Kallang River 或 Sungei Kallang)的上游,从贝雅士蓄水池下池 ... 以下,这一章就以九鲤洞的目连戏为例,分析九鲤洞目连戏的目标观众 (target audience)。为了确实了解这些观众的存在,文章将会引用佛教“六道 众生”的观念,分析佛教对于宇宙中不同生命形式的看法。就人类有限的视觉 领域而言,亡魂观众是不存在的;但是从宗教学的观点来说,他们始终存在。 本文便以“看不见的观众” the invisible audience),指称这群人类眼目所无法 企及的戏曲学的观众群。第二,这一章将透过九鲤洞目连戏实际的场地分布情...
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The mulian play in singapore kiew lee tong temple a case study of chinese ritual theatre 7

The mulian play in singapore kiew lee tong temple  a case study of chinese ritual theatre 7
... 道、人道和天道的众生。论文提出中国宗教仪式剧是一种以“看不见的观众” 176 (invisible audience)为主要表演对象的戏剧演出。这一“看不见的观众”包含 了天道、地狱道、饿鬼道的众生,进而解释了中国宗教仪式剧为甚么经常没有 或是很少出现人类的观众,以及中国宗教仪式剧中具有许多禁忌的原因。 177 ... 影戏、歌舞小戏等各种“民间戏剧”,皆应排除在“中国戏剧”这一概 邱坤良《民间戏曲散记》(台北:时报文化出版社,1 979 ),页205。廖奔考察“神 庙演剧》也是依照这个模式。参廖奔《中国古代剧场史》(郑州:中州古籍出版社, 19 97 ,页111-130。 田仲一成《中国的宗族与戏剧》(上海:上海古籍出版社,1992),页391-392。 174 念之外。3 但是韩国学者吴秀卿则认为: “肯定了民间仪式剧,才算补上了中国戏剧研究的一大缺漏,才算 ... 解玉峰〈百年中国戏剧学刍议〉,见《20世纪中国戏剧学史研究》(北京:中华书 局,2006),页1-16。 吴秀卿〈从“文本”问题看中国戏剧研究的本质回归〉,《戏剧艺术》2003年第二 期, 78175 连戏的表演场地和目标观众就受到表演目的的左右。九鲤洞目连戏的表演场 地,从戏台、寒林宝所、风幡、超荐牒位的设立,都是为了彰显亡魂和孤魂的 存在。 三、论文尝试从文化生产的角度,剖析中国宗教仪式剧的生产网络,突显...
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Close encounters in enclosed spaces theatre from a spectators perspective

Close encounters in enclosed spaces theatre from a spectators perspective
... being a part of the Kalaautsavam Festival (2010), Singapore was advertised as a theatre performance performed in English and Hindi It was targeted at a Hindi speaking Indian diasporic/expat audience ... performance analysis The evocation of rasa, according to the Natyasastra is critical to theatre performance There is no Natya without rasa, says Bharatamuni 42 “Rasa”, Uttara Coorlawala writes, ... which are categorised as off Broadway and the off-off-Broadway theatres In the past seven years, I have watched theatre in Singapore, which is a mix of the work of local Singapore theatre companies...
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Close encounters in enclosed spaces theatre from a spectators perspective

Close encounters in enclosed spaces theatre from a spectators perspective
... being a part of the Kalaautsavam Festival (2010), Singapore was advertised as a theatre performance performed in English and Hindi It was targeted at a Hindi speaking Indian diasporic/expat audience ... performance analysis The evocation of rasa, according to the Natyasastra is critical to theatre performance There is no Natya without rasa, says Bharatamuni 42 “Rasa”, Uttara Coorlawala writes, ... which are categorised as off Broadway and the off-off-Broadway theatres In the past seven years, I have watched theatre in Singapore, which is a mix of the work of local Singapore theatre companies...
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