汉英篇章翻译：技巧综合分析.doc

C-E 汉英篇章翻译：技巧综合分析 说明一 （1）京剧歌唱的主要调式有“西皮”和“二黄”两种。（2）两者又各有其转调即“反西皮”和“反二黄”，通称“反调”。（3）此外，属于西皮类的还有“南梆子”、“娃娃调”等曲腔，属于二黄类的还有“四平调”、“高拨子”等曲腔。（4）京剧歌唱的主要板式：“西皮”、“二黄”两种调式，均有原板、慢板、快三眼、导板、回龙腔、散板、摇板等主要板式，此外，二黄又有跺板，西皮又有流水、快板、二六等板式。（5）反调中反二黄有慢板、原板、散板等板式，反西皮有二六板式。 说明二 （6）京剧行当分生旦净丑四大类，生行有老生（或称须生）、小生、武生，此外还有武老生、武小生、红生（勾红色脸谱，如赵匡胤、关羽等）、娃娃生。（7）旦行有青衣、花旦、老旦、武旦、刀马旦、彩旦（亦可列入丑行）。（8）净行（亦称花脸行），主要有铜锤花脸（重唱工）和架子花脸（重表演）两种，另外还有武花脸（以武打为主）。（9）丑行有文丑、武丑两大类。 Note I (1) The principal modes of Beijing Opera singing music (diaoshi) are xipi and erhuang. (2) + (3) Each of these two principal modes is associated with secondary modes: xipi with fanxipi (inverse xipi) and nanbangzi, and erhuang with fanerhuang (inverse erhuang), sipingdiao, and gaobozi. Each secondary mode produces its own distinctive atmosphere. The male and female versions of each mode have characteristic patterns of melodic contour and cadences, and influence melodic construction as well. (4) + (5) Each mode in both its male and female versions may be applied in one of several metrical types (banshi). Each metrical type in each mode sets patterns of meter and tempo, and influences melodic construction through its inherent melodic tendencies. Each metrical type is indicative of a particular psychological state. Erhuang includes the metrical types manban (slow-meter), yuanban (primary-meter), kuaisanyan (fast three-unaccented-beat-meter), daoban (lead-in-meter), huilongqiang (undulating-dragon-tune), sanban (dispersed-meter), yaoban (shaking-meter) and duoban (stamping-meter). Xipi has its own versions of all of these metrical types and additionally it includes liushuiban (flowing-water-meter), erliuban (two-six-meter) and kuaiban (fast-meter). Note II (6) The role types of Beijing Opera are divided into four main headings: sheng (male),dan (female), jing (painted-face) and chou (comic). Each one of these is subdivided into variations of the main role. Every role has its individual techniques of movement, speech and song, as well as its own cost