西方戏剧论文
关于京剧和西方戏剧的英语作文
The Essence of Beijing Opera and Western Theatre: A Comparative ExplorationIn the vast tapestry of global arts, Beijing Opera and Western Theatre stand as two vibrant threads, each weaving a unique narrative of culture, history, and artistic expression. While they may seem worlds apart at first glance, a closer examination reveals intriguing parallels and striking differences that illuminate the richness of human creativity.Beijing Opera: A Timeless Fusion of Tradition and ArtistryRooted deeply in China's ancient culture, Beijing Opera is a treasure trove of artistic traditions that have evolved over centuries. It combines music, dance, drama, acrobatics, and visual arts into a seamless whole, creating a captivating theatrical experience. The elaborate costumes, intricate face painting (known as "lianhua"), and highly stylized movements are just a few of the elements that set Beijing Opera apart.The stories told in Beijing Opera often draw from historical events, legends, and folklore, imbuing them with moral lessons and philosophical insights. The performances, led by skilled actors who specialize in both singing and acting, are characterized by their intense emotions, exaggerated gestures, and precise timing. Furthermore, Beijing Opera employs a unique system of roles, with each role having its own distinct vocal style, physical mannerisms, and costume design. Western Theatre: A Diverse Landscape of Innovation and ExpressionIn contrast, Western Theatre encompasses a broad spectrum of forms and styles, ranging from ancient Greek tragedies and comedies to modern musicals and experimental drama. It has evolved over millennia, influenced by various cultures and artistic movements, resulting in a diverse and ever-evolving landscape. Western Theatre is known for its emphasis on realism, character development, and emotional depth. Plays often delve into complex themes such as love, power, justice, and the human condition, exploring these through intricate plotlines, believable dialogue, and nuanced performances. The stagecraft—including set design, lighting, and sound effects—is utilized to enhance the immersive experience for the audience.Comparing and ContrastingAt the heart of both Beijing Opera and Western Theatre lies a deep commitment to storytelling and the exploration of human emotions. However, they differ significantly in their approach and execution. Beijing Opera, with its stylized aesthetic and symbolic elements, invites the audience to engage with the story on a more metaphorical and abstract level. In contrast, Western Theatre strives for verisimilitude, aiming to transport the audience into a world that feels authentic and relatable.Furthermore, the structure and format of the two forms vary greatly. Beijing Opera adheres to a rigid structure, with prescribed roles, costumes, and performance conventions. Western Theatre, on the other hand, is more flexible, allowing for experimentation and innovation in scriptwriting, directing, and staging.Cultural Significance and Global InfluenceBoth Beijing Opera and Western Theatre are integral parts of their respective cultural heritages, reflecting the values, beliefs, and aspirations of their societies. They have also exerted a profound influence on global arts and culture, inspiring artists and audiences worldwide.As globalization continues to bring the world closer together, it is increasingly important to appreciate and understand the diverse forms of artistic expression that exist across cultures. By comparing and contrasting Beijing Opera and Western Theatre, we can gain a deeper insight into the richness and complexity of human creativity, and foster a greater appreciation for the arts that enrich our lives.中文翻译京剧与西方戏剧的精髓：一次比较性的探索在全球艺术的广阔织锦中，京剧和西方戏剧如同两条充满活力的线索，各自编织着文化、历史和艺术表达的独特叙事。
西方歌剧史论文 00812021 叶姮
前夜的神秘与浪漫——简析《尼伯龙根的指环》的前夜开场地球与空间科学学院00812021 叶姮摘要：《莱茵的黄金》是理查·瓦格纳最伟大的歌剧《尼伯龙根的指环》的前夜开场剧，一个绝妙的揭幕。
本文试对此前夜剧做简析。
关键词：《莱茵的黄金》结构人物音乐动机一、有关此剧结构根据莱比锡彼得斯出版社的乐谱，标题为《莱茵的黄金——三联剧前夜》。
瓦格纳构思《尼伯龙根的指环》的结构是依照古希腊悲剧中常见的三联剧形态，即分三个夜晚进行三部相互独立但在故事情节上呈一定关联的戏剧的演出，比如爱斯库罗斯伟大的《俄瑞斯提亚》就包括了《阿伽门农》《奠酒人》和《善好者》。
按照瓦格纳的构思，《尼伯龙根指环》也将以这样的形式出现，第一夜为《女武神》，第二夜为《齐格弗里德》，第三夜演出《众神的黄昏》。
因此，《莱茵的黄金》并不算在正式的所谓三联剧中间。
然而，用三联剧去称呼《尼伯龙根指环》这样的作品显然有些生硬。
原因很简单，悲剧中的三联剧是顺序构思与创作的。
而众所周知，瓦格纳构思《尼伯龙根指环》是倒转过来的，即先构思和创作了《众神的黄昏》（当时被称作《英雄齐格弗里德之死》），随后才是《齐格弗里德》（《青年齐格弗里德》），可能就是在这个时候，瓦格纳才决定下如今的前夜与三联剧的结构。
之所以如此猜测是因为从故事情节上看，《莱茵的黄金》与《女武神》远不如《齐格弗里德》与《众神的黄昏》来得复杂。
但是《尼伯龙根指环》显然从古希腊的悲剧中间学到了很多东西。
其一是关于罪孽与诅咒的主题。
在希腊悲剧中，无意的过失往往出于诅咒，随后上升成罪孽，而罪孽将受到更大的诅咒，因而引起报复。
这样循环往复，弄出诸多悲惨与血腥，最后，天神的愤怒在流血之后得到平息。
就是在这样的过程中，古希腊人表达了他们对是非事件的认识，是中有非，似是而非等等人间百态尽露无遗。
其二则很可能是被瓦格纳称为“动机原则”的创作法。
当然，古希腊悲剧所使用的音乐如今已经无法考证，单凭那片小小的纸草我们也无法恢复当时的音乐形态。
西方戏剧赏析论文——威尼斯商人
威尼斯商人戏剧赏析《威尼斯商人》又名《威尼斯的犹太人》是莎士比亚于1596-1597年写成的一部五幕喜剧，是莎士比亚的早期作品，在这一时期，莎士比亚的创作以喜剧为主，也包括历史剧和诗歌。
作为莎士比亚初入文学殿堂的作品，这部喜剧中充满了青年人的乐观精神。
这部作品体现了莎士比亚喜剧的几个特点：第一，喜剧与讽刺结紧密相关，莎士比亚继承和发扬了希腊罗马讽刺喜剧的传统：即嘲笑一切丑恶、庸俗的事物，抨击生活中不合理的现象。
《威尼斯商人》一剧，剧中多次提及金钱的话题，其中包含着对金钱的揭露和批判。
此外剧中也对对金钱痴迷进行批判，对封建的陈规陋习也针砭入骨。
第二，喜剧和人文主义的生活理想相结合。
忠诚的爱情和友谊的主题是《威尼斯商人》赞美的中心。
但是这种爱情和友谊是建筑在人文主义的道德原则基础上的。
在莎上比亚的喜剧中，男女是以平等的身份出现的，并着重歌颂了女性的聪明才智与勇气。
这在当时来说，是一种较为先进的思想。
最后，作家还以人道主义精神，歌颂了民族平等和友爱的思想。
《威尼斯商人》主要讲述：贫穷而出身高贵的威尼斯青年巴萨尼奥向威尼斯商人夏洛克借贷以向美丽并富有的鲍西娅求婚。
但就在他即将成婚时，他收到了好友安东尼奥的一封告别信，得知为自己担保和签订借据的好友安东尼奥投资于海上贸易，而船只却不幸失事，无法偿还欠款，而痛恨安东尼奥的夏洛克落井下石企图根据借约从安东尼奥胸口夺走一磅肉，两人对簿公堂，机智勇敢的鲍西娅假扮律师出庭，利用她的聪明机智，惩罚了夏洛克，故事结尾皆大欢喜，有情人终成眷属。
《威尼斯商人》是莎士比亚喜剧中的一部杰作，但它也是喜剧中的悲剧，剧中多次提到金钱这一古老而又永不过时、永不衰退的话题。
最后，作家还以人道主义精神，歌颂了民族平等和友爱的思想。
一部作品当它从作者的笔下来到读者的手中时，它便已经与作者脱离了关系，每一个读者都会在阅读之后都会有一本完全不同的《威尼斯商人》，沉浸于爱情者看得见那甜蜜的爱情，热衷友情的感动于无私的友情，喜欢幽默的会被一个个双关语逗乐，而有的人会看到那温暖背后的熊熊地火的涌动。
西欧戏剧史
西欧戏剧史第一篇：西欧戏剧史西欧戏剧史古希腊悲剧起源于祭祀酒神狄奥尼索斯的庆典活动。
在古希腊世界漫长的演进过程中，这种原始的祭祀活动逐渐发展成一种有合唱歌队伴奏，有演员表演并依靠幕布、背景、面具等塑造环境的艺术样式，这就是西方戏剧的雏形。
古希腊戏剧大都取材于神话、英雄传说和史诗，所以题材通常都很严肃。
亚里士多德曾在《诗学》中曾专门探讨悲剧的含义。
他认为悲剧的目的是要引起观众对剧中人物的怜悯和对变幻无常之命运的恐惧，由此使感情得到净化。
悲剧中描写的冲突往往是难以调和的，具有宿命论色彩。
悲剧中的主人公往往具有坚强不屈的性格和英雄气概，却总是在与命运抗争的过程中遭遇失败。
一、埃斯库罗斯：埃斯库罗斯开始创作时，希腊悲剧尚处于早期发展阶段。
诗人对戏剧艺术有许多重要的贡献。
他的悲剧风格崇高，语言优美，富于抒情气氛，使悲剧具有完备的形式。
他首先注意形象的塑造，他笔下所创造的人物都有坚强的意志，他们的性格是刚毅的。
埃斯库罗斯赞扬雅典民主，反对暴政，在新旧思想斗争中略带保守。
他的悲剧大部分取材于神话，喜欢用三联剧形式创作，衔接严谨。
剧本情节不复杂，但矛盾冲突激烈，抒情色彩浓厚，风格庄严、崇高，人物形象雄伟、高大。
其次，剧中的抒情气氛十分浓厚。
他创作悲剧差不多都是三部曲。
三部曲采用神话中连续发展的三个故事为题材。
埃斯库罗斯的创作尚属希腊悲剧早期发展阶段，他使剧中演员由一个增加到两个，从而开始了真正的戏剧对话，因而被誉为希腊悲剧的创始人。
他的语言、风格和使用的希腊神话中的故事也深深地影响了后人。
他的人物都不是普通人，他们的感情、特性以及他们有力、简短、高雅和生动的语言都超于一般人之上。
据说演员穿高底靴和色彩艳丽的服装也是由他而始。
他有“悲剧之父”、“有强烈倾向的诗人”的美誉。
二、索福克勒斯和《俄狄浦斯王》：1、索福克勒斯：索福克利斯最初以埃斯库罗斯为样板，但很快形成了自己的独特风格。
他首先引进了第三个演员，便于更充分地表现剧中人物的冲突。
西方戏剧鉴赏
西方戏剧鉴赏题目_我学到的西方戏剧学院课程序号 __ _ __ __班级_ __专业__ __ __姓名 _ __ ___联系电话_我学到的西方戏剧随着人们物质生活的不断丰富，自然而然人们对精神领域上的要求也越来越迫切，文化载体形式也越来越多元化，电影电视、杂志、报刊书籍等多为人所熟悉。
孰不知，有着深厚文化底蕴的戏剧，也在当代社会中茁壮成长。
例如我们学校的阿西剧社就是一个很好的例子，《此剧禁止上演》《皆大欢喜》《绝对信号》《嫌疑人X的献身》等等，都是在校学生通过对著名戏剧的理解与模仿，再加上自己的创新，反映了当今社会存在的一些现象，深受广大师生的喜爱，也使更多的人对戏剧有了初步的认识。
而我对于戏剧真正的起源与发展，戏剧不同题材与体裁，悲剧与喜剧各自的特点与代表作家的认识，是通过这几堂西方戏剧鉴赏课的学习才有了进一步的认识。
通过这几堂课的学习，真的让我获益匪浅了解了什么是西方的悲剧与喜剧，了解了什么是西方的锁闭纯喜剧、佳构剧、史诗剧、自然主义戏剧等等。
但给我总的感触是，无论什么形式的戏剧都反映了当时社会的现状，表达了作者的一种观点和情感，戏剧是生活与社会的另一种诠释与表达方式。
首先来谈谈西方悲剧。
悲剧是戏剧的主要体裁之一。
它渊源于古希腊，由酒神节祭祷仪式（狄俄尼索斯仪式）中酒神颂歌演变而来，有死亡到再生的寓意。
而世界最早的悲剧是希腊悲剧。
古希腊悲剧是整个西方戏剧的起源，所以悲剧是最古老的戏剧题材。
那么，什么是悲剧呢？亚里士多德《诗学》对悲剧定义是这样的：悲剧是对于一个严肃、完整而有一定长度的行动的模仿；模仿的方式是借人物的动作来表达，而不是采用叙述法，借以引起怜悯和恐惧来使这种情感得到“卡塔西斯”(catharsis，净化、陶冶、宣泄)。
西方戏剧有三座高峰，分别是古希腊的命运悲剧，文艺复兴时期莎士比亚的性格悲剧以及20世纪欧美荒诞派戏剧。
课堂上老师为我们叙述的《俄狄浦斯王》则是典型的古希腊的命运悲剧。
西洋歌剧论文1
西洋歌剧论文论文题目：论西洋歌剧专业：班级：学号 :姓名：【摘要】通过这一学期西洋歌剧的学习，在数部名作欣赏的过程中，我了解一些西洋歌剧的基本知识，体味到独属于西洋歌剧的魅力。
以前对它的了解太少，一直以为它艰涩难懂，超过自己欣赏范围，如今明白，歌剧其实在某种程度上是大家能够普遍理解的，至少舞台的布置与动作能传递许多信息。
关键词: 起源与发展类型与流派音乐特色论西洋歌剧1.西洋歌剧的起源与发展歌剧最早出现在16世纪的意大利，既而传播到欧洲各国，而德国的海因里希·许茨、法国普蒂斯特·吕利和英格兰的亨利·珀赛尔分别在他们自己的国家，开创了17世纪歌剧的先河。
直到18世纪，意大利歌剧依然是欧洲的主流，纵然巴黎吸引了不少外国作曲家德尔也最终落脚英伦。
而意大利歌剧的主流一直是正歌剧，直至格鲁克在1760年代推出的“革新歌剧”，以对抗正歌剧的矫揉造作。
而今天依然著名的18世纪歌剧巨匠，显然是莫札特。
莫札特少年时先以正歌剧起家，既而以意大利语喜歌剧，风行各地，尤以《费加罗的婚礼》、《唐·乔望尼》和《女人皆如此》为人称颂。
而莫氏最后一部歌剧《魔笛》，更是德语歌剧的指标性作品。
19世纪初期是美声风格歌剧的高峰期，风行当时的罗西尼、多尼采蒂和贝利尼，时至今日，依然常见于舞台。
与此同时，贾科莫·梅耶贝尔的歌剧作品则成为了法式大歌剧的典范，并风行全法。
而19世纪中后叶则被誉为歌剧的“黄金时期”，其中理查德·瓦格纳和朱塞佩·威尔第在德国和意大利各领风骚。
而黄金时期过后的20世纪初，西欧歌剧继续演变出不同风格，如意大利的写实主义和法国的当代歌剧，和及后贾科莫·普契尼和理查德·施特劳斯的作品。
而在整个19世纪，在中东欧地区，尤其是俄罗斯和波希米亚，国民乐派的崛起造就了当地和西欧平行发展的歌剧作品。
整个20世纪，现代风格元素常被尝试混入歌剧当中，如阿诺德·勋伯格和阿尔班·贝尔格的无调性手法和十二音阶作曲法，以伊戈尔·斯特拉文斯基为代表的新古典主义音乐和菲利浦·格拉斯和约翰·亚当斯的简约音乐。
论当代西方戏剧中的“在场”
论当代西方戏剧中的“在场〞内容摘要:“在潮是戏剧的本质特征并和戏剧史上各种潮流变迁息息相关。
现代主义的戏剧传统推崇文本的叙事建构,贬抑戏剧性和舞台形象。
“在潮被界定为通过模拟的手段将不在场的“现实〞展现出来,使观众仿佛置身于事件发生的现常20世纪60年代,受阿尔托思想的影响,戏剧重新张扬演员的身体及视听意象,尝试自发性表演以及观众和戏剧之间随机互动。
“在潮成为演员在戏剧当下自发地呈现内心精神以及戏剧和观众在不断变化的空间和无预先设定的条件下真实地、共同地创造一种不可重复的戏剧经验。
然而,德里达和鲍德里亚关于“延异〞和“拟像〞的理论否认了纯粹的自发性和即时性,任何“在潮都无法逃脱“再现〞的命运。
进入后现代之后的当代戏剧将严肃议题、传统的结构、后现代元素和先锋戏剧的舞台能量混合制成一种新型的“现实主义〞。
戏剧糅合这种形式的“在潮并在呈现在场的同时,又揭示在场的幻觉。
关键词:在场再现残酷戏剧解构“在潮(presene)是20世纪文学艺术领域最具争议的概念之一。
它一直和戏剧紧密相连,并和“即时性〞(iediay)、“自发性〞(spntaneity)、“现场感〞(liveness)、“本真〞(au-thentiity)、“偶发性〞(ntingeny)和“亲密性〞(intiay)等相互重合的概念一道成为描述戏剧最根本特质的词汇。
在场是一个集合性的、相互交叉或冲突、并不断演变的概念。
当人们谈及戏剧的“在潮时,他们可能在谈论不同时期戏剧的不同层面。
一种解释是将“在潮等同于“即时性〞。
在戏剧的语境下,“即时性〞意味着观众和舞台上的戏剧经验同步并行。
美国剧作家桑顿,怀尔德曾指出“戏剧永远展现的是当下〞(qtd.inper4)。
柯斯丁,斯切梅特(kerstinshidt)在?转换的戏剧:美国戏剧中的后现代主义?一书中指出:…在朝和戏剧密切相关,因为戏剧表演在本质上来讲是此时此刻发生在某一群体的观众面前的一种原创性艺术行为〞(66)。
论文范文：当代西方即兴戏剧和它在我国之本土化分析
论文范文：当代西方即兴戏剧和它在我国之本土化分析绪论在国内戏剧界，对于即兴表演的关注点主要在于将此方法用于专业表演教学中，成为一种演员训练方法，深入时可成为戏剧专业院校表演系的一门课程。
在西方，improvisation（即兴表演）不仅是戏剧表演训练的必备课程，其训练方法被广泛用于clown(小丑)等喜剧训练课程当中。
同时，即兴表演则遍布于纽约外外百老汇诸多小剧场甚至酒吧等场所，成为人们工作学习之余训练、演出甚至是盈利的表演形式。
由此可见，即兴表演已经形成为一种戏剧类型，我们姑且称其为即兴剧。
其实从世界戏剧发展可以看到的一个趋势，有不少形式的戏剧正在走出剧场，回归生活——经济起飞先于中国大陆的香港、台湾、新加坡和韩国也是这样，这一趋势意味着戏剧艺术走出象牙塔，演出普遍化，演员也可以非专业化。
美国的当代即兴剧就是其中显著的代表。
本文将它作为一种戏剧类型进行研究，它最显著的特点就是模糊了戏剧艺术的专业与非专业之间的界限，成为一种完全可以为社会表演学所利用的戏剧类型。
社会表演与专业艺术表演的一个很大的差别就在于，专业的艺术表演往往是有脚本的、经过台下排练的，演员不是表现自己，而是扮演剧本明确规定的角色。
而日常生活中人们的社会表演则往往是即兴的，这里正好体现了“社会表演学核心的三大矛盾”：“1）表演者自我与角色的理想形象”；“2）表演的前台与后台”；“3）事先准备的脚本与现场的即兴自由发挥”。
即兴剧中的演员往往没有十分固定和具体的角色，他的身份根据每一个演出小单元里演出情境的改变而改变，而且往往没有具体的名字或其他人物设定，在演的过程中人物性格才逐渐形成。
因此，角色与自我的距离相对近得多，甚至有时难辨你我。
即兴表演从理论上说前台后台是非常模糊的，这一点从剧场的结构就可以看出。
即兴剧的剧场往往非常小且随意，经常一个小酒吧或是俱乐部都可能成为有名的即兴剧表演地。
舞台就是一块空地，并不一定高出来，也没有大幕侧幕，还没轮到的演员就等在舞台侧边上，但是当演员开始表演之后与表演之前又确实产生了前后台的分别。
外国英文传统戏剧作文
外国英文传统戏剧作文英文，Traditional English theatre has a long and rich history, with a wide range of plays and performances that have captivated audiences for centuries. From Shakespearean tragedies to comedic farces, English theatre has a diverse and enduring appeal.One of the most iconic forms of traditional English theatre is the Shakespearean play. The works of William Shakespeare, such as "Hamlet," "Macbeth," and "Romeo and Juliet," have been performed and adapted countless times since they were written in the 16th century. These plays are known for their poetic language, complex characters, and timeless themes, making them a staple of English theatre.In addition to Shakespearean plays, English theatre also includes classic comedies like Oscar Wilde's "The Importance of Being Earnest" and Noel Coward's "Private Lives." These plays are known for their witty dialogue,clever wordplay, and sharp social commentary, making them both entertaining and thought-provoking.Furthermore, traditional English theatre encompasses a variety of genres, from historical dramas to musicals, each with its own unique appeal. For example, the musical "Les Misérables" has been a beloved and enduring part of English theatre since its premiere in 1980, captivating audiences with its powerful storytelling and memorable songs.Overall, traditional English theatre offers a rich tapestry of plays and performances that continue to entertain and inspire audiences around the world.中文，传统的英国戏剧有着悠久而丰富的历史，各种戏剧作品和表演形式几个世纪以来一直吸引着观众。
论西方先锋戏剧及其形式
98对于产品起着决定性作用。
玩具产品的功能是以一定的物理形态表现出来的。
玩具产品的功能，主要包括物质功能和精神功能两个方面。
物质功能一般是指玩具产品的使用对环境的功能和生理的功能；精神功能包括玩具的美学功能、象征功能和对社会的功能。
安全性是家长在选择玩具时考虑最多的一个因素。
由于儿童自我保护能力较弱，易受伤害，儿童游戏中所发生的事故有50%是因为不慎而造成的，16%是由于玩具结构的不合理性所致。
这当中体现出来玩具安全性的重要。
儿童还喜欢把东西往嘴巴里塞，所以玩具设计中的材料要具有无毒性，比如绒毛玩具，如果面料质量不好，会含有大量的寄生虫或者线头过多，儿童误食，后果不堪设想；有的材料的染料不合格，儿童幼嫩的皮肤接触后容易发生炎症。
其次，玩具结构上要圆滑无尖锐，减少孩子的磕碰和划伤。
（二）儿童玩具的开发设计与市场需求1-5岁的儿童是个体消费的依赖期，他们的消费在很大成分上是由成人决定的。
5岁以后，儿童开始根据自己的喜好，要求家长买自己喜欢的玩具。
由于每个家长的期望、性格、受教育程度、经济状况、审美修养等不同，造成需求的多元化。
设计师及企业家应该认真进行市场调查，分析、研究不同的消费群需求，不断调整产品结构，以满足不同层面的消费需求。
任何成功的儿童玩具设计，都涉及到与儿童、与产品、与社会相关的诸多因素，其背后凝聚着设计师的汗水。
因而，设计师有必要学习和研究更多的与儿童成长相关的知识，以设计出更符合孩子口味的安全的玩具产品。
那种使孩子产生压抑感、头痛感、陌生感的设计是不可取的。
对儿童玩具产品的设计研发，要想取得良好的效果，必须更多地倾听孩子们的心声，因为儿童的思想是既丰富又充满幻想色彩的。
孩子在成长变化，感受度和参与能力也在不断增强，儿童玩具产品设计应适应时代的发展，担负起更多的社会责任。
参考文献：[1]李珠志、卢飞永、甘庆军.玩具造型设计.北京：化学工业出版社，2007[2]张99一、象征主义戏剧象征主义戏剧是西方现代戏剧一个重要的流派。
戏剧文化作文英语模板
戏剧文化作文英语模板英文回答：Theatre Culture Essay: A Comparative Analysis of Western and Eastern Theatre。
Theatre, as an art form, has played a pivotal role in shaping civilizations and expressing the cultural ethos of societies across the globe. The West and the East, two distinct regions with contrasting histories, have developed unique theatrical traditions that reflect their respective cultural values, beliefs, and artistic sensibilities. This essay aims to delve into the rich tapestry of Western and Eastern theatre cultures, exploring their historical evolution, key features, and enduring influence on society.Historical Evolution:Western Theatre: Western theatre traces its roots to ancient Greece, where it emerged as a religious ritualperformed in honor of Dionysus, the god of wine and fertility. From these humble beginnings, theatre evolved into a sophisticated art form during the Golden Age of Athens, producing masterpieces such as Sophocles' Oedipus Rex and Aristophanes' The Clouds. The Roman Empire continued this theatrical tradition, introducinggladiatorial contests and mime performances. During the Middle Ages, theatre shifted to religious settings, becoming an integral part of church services and morality plays. The Renaissance witnessed a revival of classical theatre, leading to the rise of professional actors and the development of elaborate stagecraft.Eastern Theatre: Eastern theatre originated in ancient China, where it was closely intertwined with ritual dances and storytelling. During the Tang Dynasty, Chinese theatre flourished with the emergence of zaju plays, which combined music, dance, and acrobatics. In Japan, theatre emerged as Noh and Kyogen, highly stylized forms with distinct masks, costumes, and movements. Southeast Asia developed its own unique theatrical traditions, such as Thai khon and Cambodian shadow puppetry, which often incorporatedelements of mythology and folklore.Key Features:Western Theatre: Western theatre tends to emphasize realism, naturalism, and psychological depth. Playwrights and directors strive to create characters and situationsthat reflect the complexities of human nature and society. The use of elaborate sets, costumes, and lighting helps to immerse the audience in the world of the play. Western theatre often explores themes of identity, love, loss, and the human condition.Eastern Theatre: Eastern theatre emphasizes stylization, symbolism, and ritualistic elements. Performances often incorporate elements of dance, music, and acrobatics, creating a visually stunning and immersive experience. Eastern theatre places a strong emphasis on aesthetics,with a focus on beauty, grace, and precision. Themes often revolve around mythology, folklore, and the search for enlightenment.Enduring Influence:Theatre has had a profound impact on Western and Eastern societies throughout history. It has served as a medium for social commentary, cultural expression, and entertainment. Western theatre has influenced film, television, and digital media, becoming a dominant form of popular culture worldwide. Eastern theatre has preserved ancient traditions and cultural heritage, providing a vibrant and dynamic form of artistic expression. Both Western and Eastern theatre continue to thrive today, offering unique and captivating experiences that enrich our understanding of human creativity and the complexities of the human condition.中文回答：戏剧文化论文，西方和东方戏剧的比较分析。
西方戏剧赏析论文——威尼斯商人
威尼斯商人戏剧赏析《威尼斯商人》又名《威尼斯的犹太人》是莎士比亚于1596-1597年写成的一部五幕喜剧，是莎士比亚的早期作品，在这一时期，莎士比亚的创作以喜剧为主，也包括历史剧和诗歌。
作为莎士比亚初入文学殿堂的作品，这部喜剧中充满了青年人的乐观精神。
这部作品体现了莎士比亚喜剧的几个特点:第一，喜剧与讽刺结紧密相关，莎士比亚继承和发扬了希腊罗马讽刺喜剧的传统:即嘲笑一切丑恶、庸俗的事物，抨击生活中不合理的现象。
《威尼斯商人》一剧，剧中多次提及金钱的话题，其中包含着对金钱的揭露和批判。
此外剧中也对对金钱痴迷进行批判，对封建的陈规陋习也针砭入骨。
第二，喜剧和人文主义的生活理想相结合。
忠诚的爱情和友谊的主题是《威尼斯商人》赞美的中心。
但是这种爱情和友谊是建筑在人文主义的道德原则基础上的。
在莎上比亚的喜剧中，男女是以平等的身份出现的，并着重歌颂了女性的聪明才智与勇气。
这在当时来说，是一种较为先进的思想。
最后，作家还以人道主义精神，歌颂了民族平等和友爱的思想。
《威尼斯商人》主要讲述:贫穷而出身高贵的威尼斯青年巴萨尼奥向威尼斯商人夏洛克借贷以向美丽并富有的鲍西娅求婚。
但就在他即将成婚时，他收到了好友安东尼奥的一封告别信，得知为自己担保和签订借据的好友安东尼奥投资于海上贸易，而船只却不幸失事，无法偿还欠款，而痛恨安东尼奥的夏洛克落井下石企图根据借约从安东尼奥胸口夺走一磅肉，两人对簿公堂，机智勇敢的鲍西娅假扮律师出庭，利用她的聪明机智，惩罚了夏洛克，故事结尾皆大欢喜，有情人终成眷属。
《威尼斯商人》是莎士比亚喜剧中的一部杰作，但它也是喜剧中的悲剧，剧中多次提到金钱这一古老而又永不过时、永不衰退的话题。
最后，作家还以人道主义精神，歌颂了民族平等和友爱的思想。
一部作品当它从作者的笔下来到读者的手中时，它便已经与作者脱离了关系，每一个读者都会在阅读之后都会有一本完全不同的《威尼斯商人》，沉浸于爱情者看得见那甜蜜的爱情，热衷友情的感动于无私的友情，喜欢幽默的会被一个个双关语逗乐，而有的人会看到那温暖背后的熊熊地火的涌动。
【经典西方歌剧鉴赏】 论文5篇
《论浪漫主义时代的歌剧》浪漫主义时期意大利歌剧的特点意大利歌剧产生于巴罗克时期，并在这一百五十年的时间里辗转于意大利各大城市，期间它经历了产生、发展和成熟三个阶段，并影响了欧洲各国。
佩里和卡契尼等作曲家使歌剧初具雏形，蒙特威尔第和A.斯卡拉蒂使歌剧趋于完善，并使它在欧洲音乐史上占有重要地位；随后意大利歌剧在发展中经历了三个重要时期：古典主义时期、浪漫主义时期和真实主义时期，其中后两个时期最关键。
音乐史上的浪漫主义时期大约是19世纪前后的100多年，该时期的音乐不像巴罗克音乐那样壮观、华丽，在细节上精致修饰；也不像古典主义音乐那样具有精练、朴实的音乐语言，形式结构明晰匀称；它更多地强调个性与自我感受，无拘无束地表达情感世界，体现了浪漫主义所特有的激情。
浪漫主义音乐的这些特点都在意大利浪漫主义歌剧中得到了体现，它强调强烈的感情渲染、个人主义精神的展现以及强烈的个性表现，重视歌唱性和抒情性，以自由、平等、博爱为创作宗旨，反对古典主义音乐的传统形式和内容，作曲家们期望最大程度地体验各种感受。
这些都是当时意大利歌剧的鲜明特点。
述浪漫主义时期交响曲的发展浪漫主义的交响曲所表达的情感热烈、夸张、充满主观性和幻想性；交响曲形式不拘一格，随内容而确立；内容常源自于文学、美术、戏剧等艺术类型“标题交响曲”盛行一时；音乐语言上许多革新，如旋律的抒情性和描绘性增加，和声表现功能扩大，使用半音和声和不协和和旋，调性多变，乐队色彩丰富，新型乐器加入。
舒伯特的交响曲开创了歌唱抒情性交响曲的新领域，门德尔松和舒曼的交响曲，表达了浪漫主义对大自然的特殊青睐；勃拉姆斯的交响曲的贯穿发展的手法是贝多芬的进一步推进，布鲁克纳的交响曲采用管风琴式的对位写作和古老的众赞歌式的和声，带有浓郁的宗教气息。
意大利歌剧的发展浪漫主义风格的意大利歌剧从罗西尼开始，经过贝里尼、唐尼采蒂到威尔第早期，内容主要体现了爱国情感与英雄主义。
到威尔第的创作后期，出现了新的音乐潮流——真实主义歌剧，马斯卡尼的《乡村骑士》普契尼的《艺术家的生涯》等作品是推动这股潮流向前发展的代表作。
莎士比亚戏剧赏析论文
The Eros in Shakespeare’s Plays:Its Essence, Consequences and MoreLove is a very important aspect of human life. There are four Greek words for love: storge (the familial love), phileo (friendship), agape (charity) and eros (romance) (Lewis, as cited in Wikipedia, 1960). And this research focuses primarily on eros between young lovers in Shakespeare’s Romeo and Juliet, The Merchant of Venice and A Midsummer-Night’s Dream.From the plot in these plays, I will discuss Shakespeare’s perspective of romantic love and compare it with the modern concepts of love. In my opinion, the Eros depicted by Shakespeare is very complex and quite different from what we now consider as true love.From Romeo to Portia, the protagonists seemed to be guided by some immortal power and were immediately attracted just at the first sight of their Mr. or Ms. Right. Romeo, for example, forgot his love for Rosaline, whom he had been longing for, as soon as he saw Juliet’s face:Did my heart love till now? forswear it, sight!For I ne'er saw true beauty till this night.( Romeo and Juliet, act 1, scene 5) At the same time, Juliet was intended to fall in love with and marry Paris, and was, in fact, quite restrained. But that did not seem to have any effect on her. And following that seemed to be the common merrymaking among adolescent boys and girls, although the way Romeo did it was quite bold. But shortly afterwards, Juliet also fell in love irredeemably with Romeo:Go ask his name: if he be married.My grave is like to be my wedding bed.(Romeo and Juliet, act 1, scene 5) This seemed all too rash, especially for a young lady who was only 14 years old. If Romeo’s sharp turn in attitude indicated Juliet’s extraordinary beauty and charm, then Juliet’s change was beyond explanation, as Romeo was not a charming wooer.And Portia’s falling in love with Bassanio in The Merchant of Venice was even more surprising. Before Bassanio had begun to woo her or even met her, that love fell upon Portia:Come, come, Nerissa; for I long to seeQuick Cupid's post that comes so mannerly.(The Merchant of Venice, act 2, scene 7) In fact, Portia seemed to have lost all her wisdom this time, trusting the glittering appearance of a piece of fool’s gold.When it came to A Midsummer-Night’s Dream, Shakespeare simply borrowed a sprite from the legend called Puck in order to arrange some “love-at-one-sight”situations for the young lovers, which was amusing for the audience but probably a little annoying for the young people in the play. Although neither Lysander nor Demetrius fell in love with Helena “at first sight”, the love potion did not take effect until the image of the girl was cast into the men’s eyes.However, the problem with the “love at first sight” is that this love is very likely to be superficial rather than sincere as lovers are not able to get to know each other well, therefore it is more possible to end up in grief or disappointment. For instance, when Juliet found that her husband had killed her cousin, she was in terrible dilemma:Shall I speak ill of him that is my husband?Ah, poor my lord, what tongue shall smooth thy name,When I, thy three-hours wife, have mangled it?But, wherefore, villain, didst thou kill my cousin?That villain cousin would have kill'd my husband:Back, foolish tears, back to your native spring;……(Romeo and Juliet, act 3, scene 2) On the one hand, she could not speak ill of her lover and was worried about his safety, on the other hand, she was in great pain to had lost her beloved cousin. That love did cause greater misery for the lovers.And as for Portia, she did not know that Bassanio was very poor until they got married. And whether Bassanio truly loved her is not undoubtable, since it was possible that Bassanio at least partly considered Portia’s wealth when he decided to try his luck:And from your love I have a warrantyTo unburden all my plots and purposesHow to get clear of all the debts I owe.……O my Antonio, had I but the meansTo hold a rival place with one of them,I have a mind presages me such thrift,That I should questionless be fortunate!(The Merchant of Venice, act 1, scene 1) The consequence of that love was that Portia had to try to insert some control over her husband by playing the trick to teach him a lesson. Considering that they were just newly-wed, Portia could be a good tamer for the carefree Bassanio in the future. Anyway, the idea of using the three boxes to test who was the true lover was quite a novel one, which I believe no expert on marriage will sincerely recommend.Although the Greek philosophers did write about “love at first sight”, they also mentioned some cases in which passion occurred after the initial meeting (Wikipedia, 2013). However, Shakespeare seemed to have ignored these situations. Maybe it was not just because he was with “small Latine, and lesse Greeke” (Jonson, 1618). The reason lies in many aspects.First of all, the arrangement is of better dramatic effects. Because the lovers in the plays fell in love so quickly, they would inevitably leave something unrevealed, which could in the end be the key of the plot. Also, there are more twist and turns and conflicts in the kind of plot.Secondly, this might have something to do with the status of women at that time. As we can see from the scripts, women at Shakespeare’s time were at an inferiorstatus. In Romeo and Juliet, although the old Capulet expressed that his consent was only part of Juliet’s choice of love, Lady Capulet still urged her daughter Juliet to obey her parents’ will. And young Juliet did promise to try:I'll look to like, if looking liking move:But no more deep will I endart mine eyeThan your consent gives strength to make it fly.(Romeo and Juliet, act 1, scene 3) And such lines expressing women’s affiliation with their lovers, husbands, or fathers were also found in The Merchant of Venice and A Midsummer-Night’s Dream. For example, in A Midsummer-Night’s Dream, Theseus warned Hermia of rebelling her father, and expressed that she was in the hand of her father:To you your father should be as a god;One that composed your beauties, yea, and oneTo whom you are but as a form in waxBy him imprinted and within his powerTo leave the figure or disfigure it.(A Midsummer-Night’s Dream, act 1, scene 1)It then seems that the choice of young girls like Juliet, Hermia and Portia was a rebellion towards the male-dominant society. As both Juliet’s and Hermia’s marriage were determined by their parents, the young girls might choose their own lovers with haste so that they would at least spend their lives with someone of their own choice. And though Portia’s parents had already passed away, her destiny was still controlled by her father’s will. For all of them, the way to resist is to choose a lover of their own fast (or at one sight) and break away with her lover as soon as possible.Nonetheless, for most of the young girls who dared not stand against their families, it was better to love whomever they belong to. Therefore they would try or pretend to love whoever came at them. For example, Juliet, before meeting Romeo, tried to “love” Paris “at one sight”, though she eventually fell in love with Romeo:I'll look to like, if looking liking move:But no more deep will I endart mine eyeThan your consent gives strength to make it fly.(Romeo and Juliet, act 1, scene 3) For men’s part, men did not have to sacrifice as much as women did in one relationship when men were superior. Therefore Romeo could woo the girl he preferred at first sight without much consideration, and Lysander could change his mind easily.However, I have pictured too solemn a picture of the love mentioned. In fact, we can hardly deny the faith of Romeo and Juliet, and the love between Lysander and Hermia seemed to grow mature after all the obstacles. I think, this love is also true love, because lovers overcome difficulties in the pursuit of love. And this love lies in the human mind.So the third reason is that this kind of love is always part of human affection. Such cliché of falling in love at first sight and remaining in love forever despite all obstacles also appeared in modern literatures. Zweig’s Letter From An Unknown Women also depicts the psychology of all Juliets and Helenas of all time. And Duras’s Hiroshima mon amour reminds me of Romeo and Juliet in that the female protagonist in the movie also fell in love with one of the enemies of her nation. It seems always attractive to love someone of alien characters, for instance the foes whom one has known little (May. 1969). The point is simple: the inclination to be irrational always exists. And that might be the basic view of love by Shakespeare.However, the rational modern concept of love focuses more on the mutual trust and respect side, which is probably due to the emphasis on equality. Erich Fromm (1956) “presented love as a skill that can be taught and developed, and rejected the idea of loving as something mysterious.”He argued in The Art of Loving that the active character of true love involves four elements: care, responsibility, respect, and knowledge (1956, p.24).It can be concluded that the rational modern concept and the perspective held byShakespeare both have their strength and weakness. The rational one has realized the importance of respect, which is hard for people of Shakespeare’s time to realize because of the fact of women’s being inferior at that time. But Shakespeare did perceive the subtle aspect of love, which was interpreted by ancient Greek and Medieval European literature as some divine power. In a word, love is difficult to perceive and understand unless one has been through it on his or her own.Reference[1]Duras, M. (2010).广岛之恋.(L.D. Tan, trans.).上海：上海译文出版社.(Original work published 1960)[2]Eros(concept).(2013, May 31). Retrieved Jul. 27,2013, from/wiki/Eros_(concept)[3]Jonson, B. (2013, Jul. 15). To the Memory of My Beloved, the Author, Mr. William Shakespeare, line 31. Retrieved Jul. 28,2013, from/wiki/Ben_Jonson#To_the_Memory_of_My_Beloved.2C_the_ Author.2C_Mr._William_Shakespeare_.281618.29[4]May, R.(1969). Love and Will. New York: W. W. Norton & Company.[5]Shakespeare, W.(1866). A Midsummer-Night's Dream . The Globe Edition. Cambridge: MacMillan and Co.[6]Shakespeare, W.(1866). Romeo and Juliet . The Globe Edition. Cambridge: MacMillan and Co.[7]Shakespeare, W.(1866). The merchant of Venice. The Globe Edition. Cambridge: MacMillan and Co.[8]The Art of Loving.(2013, Jul. 22).Retrieved Jul. 28,2013, from/wiki/The_Art_of_Loving[9]The Four Loves.(2013, Jul. 21).Retrieved Jul. 27,2013, from/wiki/The_Four_Loves[10]Zweig, S. (2006).一个陌生女人的来信. 斯·茨威格中短篇小说选（S.Y. Zhang, trans.).北京：人民文学出版社.(Original work published 1922)。
中西戏剧文化差异英文作文
中西戏剧文化差异英文作文1. In Western theater, actors often focus on individual performances and strive for naturalism and realism. Theyaim to portray characters that resemble real people and convey emotions authentically. This approach emphasizes psychological depth and believability on stage.2. On the other hand, Chinese theater places more importance on symbolism and stylization. Traditional Chinese opera, for example, uses elaborate costumes, makeup, and gestures to represent character types and convey emotions. The emphasis is on creating a visually striking and aesthetically pleasing performance.3. Western theater tends to prioritize plot andnarrative structure. Plays are often structured around a clear beginning, middle, and end, with a linear progression of events. The focus is on telling a story and engaging the audience through a well-crafted plot.4. In contrast, Chinese theater often incorporates episodic and fragmented storytelling. The narrative may not follow a linear structure, and scenes or acts can be disconnected or presented out of order. This allows for a more abstract and non-linear exploration of themes and ideas.5. Western theater also values individualism and the exploration of complex characters. Actors are encouraged to bring their own interpretations and personal experiences to their roles, adding depth and uniqueness to their performances.6. Chinese theater, on the other hand, emphasizes collective harmony and the portrayal of archetypal characters. Actors are expected to conform to established character types and adhere to specific conventions and techniques. The focus is on maintaining a harmonious ensemble and conveying cultural values and traditions.7. Western theater often embraces experimentation and innovation. Playwrights and directors are encouraged topush boundaries and challenge traditional theatrical conventions. This can result in avant-garde productionsthat explore new forms of storytelling and engage with contemporary issues.8. Chinese theater, while also open to innovation, tends to preserve and uphold traditional forms and techniques. There is a strong emphasis on continuity with the past and the preservation of cultural heritage. This can be seen in the continued popularity of traditional Chinese opera and the efforts to pass down ancient performance styles and techniques.9. Western theater places a strong emphasis on the audience's experience and enjoyment. The goal is to entertain and engage the audience emotionally and intellectually. This often involves creating a sense of immediacy and intimacy, breaking the fourth wall, and using techniques such as humor and suspense.10. Chinese theater, on the other hand, often seeks to educate and enlighten the audience. Performances can bedidactic and moralistic, aiming to convey ethical values and cultural traditions. The focus is on enriching the audience's understanding and appreciation of Chinese history, literature, and philosophy.11. In conclusion, the differences between Western and Chinese theater lie in their approaches to performance, storytelling, character portrayal, innovation, and audience engagement. These differences reflect the unique cultural and artistic traditions of each region and contribute to the richness and diversity of world theater.。
英语戏剧论文
Broken of American Dream In Death of a salesman08劳动与社会保障1班 2008162131 张亚The greast dramatist to come out of the 1940s is Athur Miller who was ,along with Tennessee Williams ,led the postwar new drama.Death of a salesman,one of Athur Miller’s best play,is his mastrepiece,won him the Pulitzer Prize for Drama in 1949 and some other prizes.Unlike the classic Greek or Elizabethan tragedy,which focuses on the downfall of a noble character,Death of A Salesman focuses on an ordinary character,a common American man.It’s said that Miller i s criticizing and capitalism as a promoter of socialism.It’s demonstrated through willy ,the protagonnist during the story,who struggles to support his family and even himself. It’s a story of a man at the end of his life,who realizes he was wasted his years in pursuit of a goal is not only unattainable,but was never real to begin with.I think this drama’s protagonist willy loman’problems in life were usually caused of hia chase towards the American dream.In Death Of A Salesman,we can learn a lot about the broken of American dream —a belief that as long as the United States after a hard struggle will be able to achieve the ideal of a better life, that is, people have to work through their own hard work, courage, creativity and determination to move towards Prosperity. there are also many other factors could direction our life.Death of a Salesman is centered around one man trying to reach the American dream and taking his family along for ride. Willy is at the bottom of the totem pole in a capitalistic world.He owns nothing,and he makes nothing,so he has no sense of accomplishment.He believes that if a person is well liked and has a great deal of personal attractiveness,then all doors will automatically be opened for him,and he built his life around those dream.He lived everyday of his life trying to become successful,well-off salesman.His self-image that he portrayed to others was a lie and he was even able to deceive himself with it.He travelled around the country selling his merchandise and maybe when he was younger,Willy loman,the salesman of the title ,is as “phony” as Mark Twain’s Colonel Sellers but hardworking and honest,but in reality not as successful and “great”1.Working through own hard work,courage,creativity and determination to move towords prosperity is the main idea of the American dream,but in the Death of A Salesman,we can’t feel it.As a memmber of the Wangner Company ,he worked for thirty-four years,finally,he was fired by Howard Wangner who is willy’s boss,he is a symbol of the modern businessman-professional,clinical,and utimately ruthless.whenwilly is no longer able to contribute,he is too professional to arrange a new job for him,and fired him,despite the friendship between his father and Willy.Then,as a middle-aged salesman who is no longer able to earn a living,willy has been reduced to working for commission alone,has to travel long distances,and even has to borrow money from Charrley to make ends meet.In order to escape from his own failure,he pressures his sons to make something of themselves,then is crushed when they don’t live up to his expectations.Biff loman,the order son of willy and linda,he is the all-star athlete of the family,After discovering his father had an affair,he abandoned all of his dreams and set out to make his own way.Unfortunately he can’t escape his path or what he was taught as a child.he comes to realize that he was only footing himself into believing in his father’s lies(the loman have “never told the truth for ten minutes”in their house2) about himself. Harod happy loman,the younger son of Willy and linda,epitomizes all of Willy’s negative points,such as Willy’s bind following of the American dream.Happy is generally supportive of his father,he seems to only worry about making his parents notice him ever if it means making lies.Two boys has their own idea about their life,they plan to star a suporting goods business in Florida and put exhibitions for publicity.At that time, willy is outraged,he owns nothing,he can’t support his sons.He receives only a small commission as he ages,and he slowly loses his mind and attempts to kill himself by inhaling gas from the water heater of from crashing his car.As we can see,he can do nothing except this ,his death was also in vain,his sons got nothing from his death,his dream finally broked drown.Willy Loman,like so many other American men of the last century,is in conflict with society ,his family,and himself,and himself. In his struggle to compete in materialistic American,he comes up short,society beats him down.In his effort to communicate with his son Biff and mold him into a success,he fails.In a war with his own inner self,he refuses to accept what he is ordinary,average,unremarkable.Ultimately,willy’s inner and outer outer conflicts destroy him3.At the funeral,Hap says Willy “did not die in vain.He had a good dream,it’s the only dream you can have- to come out number-one man.”Willy lives with American dream until his death.One dream is not worth all the pain and problems his caused,he should have learned to be content and,as harsh as it may be to believe,he should have realized what he could have accomplished and given up his unable realized dream.Death of a Salesman,it told the broken of American dream to us , people have to work through their own hard work, courage, creativity and determination to move towards Prosperity,which may not always right point,there are also many other factorscould direction our life.1《A Survey of American Biterature the 2nd Edition》nankai university 1987 P306 2《A Survey of American Bitrrature the 2nd Edition》nankai university 1987 P307 3“Plot Summary” Find the erfect Gift By Michael mings 2003。
中西方戏剧研究
旅游文化学论文论文题目中西方戏剧差异姓名冯春学号 104334212 班级旅管102班2013年12月3日中西方戏剧的差异摘要：中西戏剧同起源于祭祀典仪，是一种由敬畏驱使的宗教崇拜。
由于地域民风不同，信仰价值存异，社会制度有别，在漫长的发展过程必然形成了各自特点。
通过浅析中西戏剧的不同品相，尝试探索她们不同的艺术思维与表演形式。
关键词：中西戏剧，比较，内涵，思维中西方戏剧之间许多的不同点已被人从不同角度进行了多种研究, 诸如元杂剧与18 世纪欧洲戏剧, 西方戏剧对中国20 世纪话剧的影响, 以及中西戏剧观、类型、时空结构, 具有普遍意义的母题或原型, 演出风格, 艺术家生平等方面的问题, 一直是比较戏剧学关注的核心。
而就戏剧理论的本质论点来看, 中西方戏剧的确存在着许多根本性的差异, 这种差异性的论述对学习比较戏剧学, 深入研究中西方文学, 探讨中西文化的不同点有着巨大的推动作用。
一个世纪以来，由于科技革新与发展，银屏、网络和传媒这几股强大的洪流无情地冲击着传统的中西方戏剧舞台。
被誉为“印钞机”的美国好来坞大片，更以其巨大耗资、成功地商业运作、惊险刺激的情节场景、声光电现代的科技手段等，造成了极为强烈的感官震撼，霸占了极大的文化娱乐市场。
传统的戏剧舞台日趋颓败冷落，戏剧表演艺术后继乏力，生存堪忧。
德国著名哲学家黑格尔对戏剧有过极高评价：“戏剧无论在内容上还是在形式上都要形成最完美的整体，所以应该看作诗乃至一般艺术的最高层。
”[1]戏剧这个艺术载体在发展过程中因融入了文学、诗歌、音乐、舞蹈、美术......成为集大成之综合体。
无疑，她在艺术殿堂最高层的位置难以撼动。
在戏剧艺术中我们可以迸发灵感、汲取精神养分、萃取思想的火花！世界戏剧千姿百态。
但是基本上应该归属于两大系统，即东方系统和西方系统。
这两大系统既有很大的对立性、差异性，又有由于各处一极而形成的相对独立、较为完美的统一性。
中西戏剧各自经过了漫长的发展历程，它们并没有孰优孰劣之分，只是能让我们从它们的差异性中窥见到两种不同文化下同一种艺术形式的不同品相，有助于我们对中西艺术的文化思维深入理解。
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Lasia Zhang2011030100084Western TheatreThe Colors and Songs Used in the West Side Story West Side Story is a musical theater. It reflects some social problems in 1950s in America Manhattan, such as gang wars, Puerto Rican migration, and miscarriage of justice.This movie shows us a sorrowful love story between two young person. It seems like Romeo and Juliet, however, it is different. For in Romeo and Juliet,there is nothing talk about why the two families are against with each other. However, in this movie, it gives us enough information about the two gangs------Sharks and Jets, which the two protagonists belongs to. Also, we can know why the two gangs fight with rach other----they both want to have their own side in their living area, and in America. The two protagonists are Tony and Maria. The whole move are around the lovers. Their love story is the clue of this movie. In this movie, there two things give me a deep impression. One is the colors in this movie. Many contrasting colors used in people’s dresses and the background. The other thing is the song and dance in this movie. People sing songs when they want to express a strong emotion.First, let’s talk about the using of colors in this movie. White is the color which is much used in Maria’s dress. White, presents pure, innocent.She is pure, kind-hearted and rational. When Maria met Tony in the dance party, she dressed in white, so beautiful like a princess. The white dress show her off, let Maria stand out from the rest. And when she wait for Tony in the boutique, she wears in a white dress,too. Thiscolor can show that she is in a high mood. At the end of the movie, Marie wear in a red dress with black headscarf. These two colors are very prominent in the dark background. I think this kind of eye shock can give audience a deep impression. The red remains me of blood, also remains me that the war between the two gangs caused four people die. It shows fighting is nonsense, only bring blood and sorrow. Another typical color is purple. This color is more used in Sharks, especially in Anita. Purple is a deep color, it makes me think about serious thing, strong feeling. Exactly, Anita is a woman who dare to love and hate, she always has a burning emotion.. So the purple can help actress plays this role perfectly.Then, I would like to talk about the songs and dance in this movie. There are two songs and dance in this movie left deep impression on me: America and Cool. In America, though Anita’s show is exaggerated, it is actually reflect her preference of living in America than live in Puerto Rican. This dance shows the attitudes toward America of these Puerto Ricans. They like the freedom in America, but they always be treated in an unfair way. The Cool song and dance shows us clearly how Jets became calm down after Riff’s death. The dance presents their emotions’changing vividly. Let audience feel calm down with their dance.Besides those two things, the facial expression and body language are also very important in acting.The actress who plays the role of Maria, she uses her facial expressions and body languages showing Maria’s emotion vividly. For the first time when she met Tony in the dance party, she stared at Tony deeply, there only Tony in her eyes. This expression shows Maria falls in love with Tony. And after Tony killedher brother, she beat Tony but crying, this shows the intrapsychic conflict of Maria. Tony, a young man with an optimistic attitude toward future life and an open mind. Richard Beymer (the actor’s name who plays Tony) uses his facial expressions and body language to explain Tony’s emotion. At the beginning of the movie, Riff invites Tony to the dance party, Tony refuse and tell Riff he is going to create his future life by his hands. From this we can see Tony has an optimistic attitude toward life. Also, he is loyalty to friend. He has a great sense of obligation to his friend. When Riff says he promised to the others, if Tony does not go to the party, he will be laughed, Tony accept the invitation. This shows Tony always consider of his friend. Last but not least, Tony is honesty to love, and he is longing for a romantic love. At the beginning, Tony sings a song, which express his sense of something’s coming. The love is coming. After he killed Marie’s brother, he finds Maria and tell her everything. This scene shows Tony is honesty to love, to Maria. So, Tony is an honest and optimistic young man.My favorite script quotes is one of Maria, “ All of you! You all killed him! And my brother, and Riff. Not with bullets, or guns, with hate. Well now I can kill, too, because now I have hate!” This shows that Maria is heart-broken, and her allergic to gang war. This also can give audience an alarm of fighting’s harm.。