中国文化英语教程U18ppt课件

1,Unit18PekingOpera:ArtistryofPerformers,2,Lead-in,Textstudy,Exercises,Content,3,Lead-in,PekingOperaMask,4,2.1Introduction,2.2TheDelightsofPekingOperaMasks,2.3PekingOperaPerformance:Sing,Speak,Act,andFight,2.4TheBeautyofa“VirtualWorld”,Textstudy,2.5“WatchingaPlayIsWatchingFamousActors”,2.6MeiLanfang,GreatPekingOperaArtist,5,Introduction,ManyforeignfriendsfirstlearnaboutChineseculturethroughthenumerousChineserestaurantsfoundallovertheworld,andsoondiscernthatChinaisacountrywithdeliciouscuisine(菜肴).,6,ThesecondimpressionofChinesecultureisoftenPekingOpera,whosemasksarenowalmostemblematic(标志性的)ofChina.ManycountriesdesignpostersusingPekingOperamaskstosignala“YearofChineseCulture”.TounderstandChineseculture,therefore,someknowledgeaboutPekingOperaisindeedindispensable.,Introduction,7,TheDelightsofPekingOperaMasks,ChinasPekingOperaradiateswiththebeautyofresplendent(华丽的)color-vivid,intenseandglamorous.Thisartisticbeautycomesnotonlyfromthecostumesbutalsofromthemasksofexaggerated,dazzlingdesigns,gleamingwithreds,purples,whites,yellows,blacks,blues,greens,everydiversecolorimaginable.,8,Masks,appliedtothetworolesofthe“jing”or“painted-facerole”andthe“chou”or“clown”,servetwopurposes.Oneistoindicatetheidentityandcharacteroftherole.Theotherpurposeistoexpresspeoplesappraisaloftherolesfromamoralandaestheticpointofview,suchasrespectable,hateful,noble,orridiculous,etc.,TheDelightsofPekingOperaMasks,Jing,Chou,9,TheDelightsofPekingOperaMasks,A“redface”meansthepersonisloyalandbrave.,A“blackface”signifiesthepersonisstraightforward.,A“whiteface”identifiesthepersonascraftyandevil.,Whatdothesecolorfulmasksmean?,10,PekingOperamasksanartofbeautifulcolorsanddesignsforaestheticappreciation.TheintriguingbeautyofthecoloranddesignofPekingOperamasksaddstotheattractivespectacleonstage.,TheDelightsofPekingOperaMasks,11,ManyChinesefolkhandicrafts(e.g.,kites,doughandclayfigurines,carpets,tapestries),posters,advertisements,andfashionsadoptPekingOperamasksasasourceelementintheirdesigns.,TheDelightsofPekingOperaMasks,12,ToChinesepeople,goingtothetheatertoenjoyPekingOperaorotherartisticperformancesisknownas“seeingplays”.Whatisa“play”intheChinesecontext?InPekingOpera,“aplay”isnotsomuchthestoryorplotbutaworldofimagescreatedonstage,awonderfularenaofharmonybetweensentimentsandsettings.,PekingOperaPerformance:Sing,Speak,Act,andFight,13,PekingOperaPerformance:Sing,Speak,Act,andFight,HowdoyouunderstandMeiLanfangsremarkthatthefeatureoftheartofPekingOperais“actorsbeingatthecenter”?,The“play”or“worldofimages”createdbyPekingOperanaturallyreliesontheplotprovidedbythescript,andmoreimportantlyontheperformanceoftheactors.However,toforma“worldofimages”inPekingOpera,theplotofastoryprovidesonlytheframeworkandbackground,whilethecharmisproducedbytheactorsperformances.PekingOperaactorsarethecrux(关键)increatingaworldofimagesonstage.,14,WhatarethefourbasicaspectsoftheperformanceofaPekingOperaactor?,PekingOperaPerformance:Sing,Speak,Act,andFight,TheperformanceofaPekingOperaactorcanbesummarizedintofourbasicaspects,ofsinging,speaking,acting,andfighting,thecoreofwhichisacombinationofsongandchoreography.,15,SingingItisofutmostimportanceintheperformanceofPekingOpera,becausefirstofall,PekingOperaisasingingart.AnyfamousPekingOperaboastsseveralwonderfularias(曲调)thatarewell-knownandpopularwithaudiences.ThecharmofthemelodiesusuallyembodiesthesublimerealmoftheartofPekingOpera.UnabletoappreciatethemagicofPekingOperaarias,onewouldfailtoenjoytheprofoundbeautyoftheartitself.,PekingOperaPerformance:Sing,Speak,Act,andFight,16,SpeakingItreferstocharactermonologsanddialogs,whichservetopropelthedevelopmentofthestory.Speaking,likesinging,needstobeexecutedinanappealingway.,PekingOperaPerformance:Sing,Speak,Act,andFight,17,ActingItincludesbodymovementsandeyemovements,solodancingorgroupdancing,etc.Mostofthedancingischoreographedmovementsfromeverydaylife.FightingItischoreographedmartialartsandacrobatics(杂技)todepictfightorbattlescenes.,PekingOperaPerformance:Sing,Speak,Act,andFight,18,Actingandfightingmeanthatactorsemployphysicalmovementstoexpresstheemotionsofthecharactersandthecircumstances.AstheartofPekingOperadependsonmovementtodepictevents,actorsaregivenmuchroomtoperformonthestage.,PekingOperaPerformance:Sing,Speak,Act,andFight,19,PekingOperaPerformance:Sing,Speak,Act,andFight,20,Inthissense,theworldofimagerycreatedinPekingOperamainlyreliesonthesinging,speaking,acting,andfightingofactors,especiallyintheperformanceofthefamousplays.ThisisthebiggestdifferencebetweenPekingOperaandotherformsofperformingartsintermsofaestheticappreciation.Andtheremark“PekingOperaistheartofperformers”welldescribesitsquintessence(精髓),PekingOperaPerformance:Sing,Speak,Act,andFight,21,Depictinga“virtualworld”isadistinctivefeatureofPekingOpera.,TheBeautyofa“VirtualWorld”,Whatdoesitsvirtualityconsistof?,Itsvirtualityconsistsoftwoaspects:oneisvirtualmovements,andtheothervirtualsettings.,22,Virtualmovementreferstoimitatingactionsonstage.Forexample,ridingahorse.Onstage,anactorcannotridearealhorse,butcanonlyholdawhipandimitatethemovementofgallopingbywalkingaroundthestage,turningthebody,wieldingthewhip,andpullingthereins.,TheBeautyofa“VirtualWorld”,23,Avirtualsettingmeanscreatinganimaginedenvironmentonstage.Forexample,rowingaboat.Asthereisnowaterorboatonthestage,anactorusuallytakesanoar(桨)and,throughactions,makestheaudience“see”therowingofaboatonwater.,TheBeautyofa“VirtualWorld”,24,Thesettingofthestageisverysimple.Usuallythereisonlyonetableandtwochairs.Thetable,besidesfunctioningasatable,mayalsosymbolizeabedwhenanactoractsasleepbysittingatitwithonehanduponitpropping(撑住)uphishead.Ifhestandsonthetableandlooksintothedistance,ittumsintoacitygatetower.Simplyput,changesinthestagesettingfollowtheperformanceoftheactors.,TheBeautyofa“VirtualWorld”,25,Theeffectivenessofvirtualmovementsandvirtualsettingsliesintheirgivingprominencetotheactorsperformances,helpingtheaudiencefeeltherichconnotationsoftheoperaanditsinfiniteappeal.Letustaketwohighlightsfromtwooperasasexamples.,TheBeautyofa“VirtualWorld”,AttheCrossroad,AutumnRiver,26,Theseexamplesdescribethefunctionofthe“virtualworld”intheartofPekingOpera,whichprovideslimitlessroomfortheperformancesofactors;andinreturn,performerspresenttheaudiencewithaworldofimagesfullofappealingwit.,TheBeautyofa“VirtualWorld”,27,ThefeaturesofappreciatingPekingOperaaredecidedbythecharacteristicsofimagecreationinPekingOpera.FeaturesofappreciatingPekingOpera:“Watchingaplayiswatchingfamousactors”.theaudiencealwaysseparatesthebeautyofthebeautyofthecraftandformoftheperformancefromtheworldofimagery.,“WatchingaPlayIsWatchingFamousActors”,28,“WatchingaPlayIsWatchingFamousActors”,Howdoyouunderstandthepopularsaying“Watchingaplayiswatchingfamousactors”?,ViewersofPekingOperagotothetheaterwiththepurposeofnotonlyseeing“aplay”,butmoreofwatchingthe“performance”,sincetheyknowthe“play”(orstageimagery)istobe”actedout”,andthesignificanceofthe“play”islocatedinthesinging,speaking,acting,andfightingoftheperformers.,29,Whenenjoyinganopera,theybearinmindnotonlytheprotagonists(主人公)ofthestorybutalsotheperformerswhoplaytheroles.Andtheperformancesoftheactorsarewhattheyhavecometothetheatertoenjoy,especiallywhentheperformersarewell-known.Thisisthemeaningof“Watchingaplayiswatchingfamousactors”.,“WatchingaPlayIsWatchingFamousActors”,30,AnotherobservationfromPekingOperaaudiencesisthat,“themorefamiliaranopera,themoreenjoyable.”However,whenapersonwatchesavignette(插曲)ofPekingOpera,themoreoneisfamiliarwithit,thefurtherthebackgroundandplotofthestoryrecede(后退)intothedistance,andthemoreonefocusesonenjoyingtheperformancesoftheactors,andfeels,graspsandenjoysthedeepermeaningandmagicoftheactorsperformances.,“WatchingaPlayIsWatchingFamousActors”,31,ThesecondcharacteristicofPekingOperaappreciationisthattheaudiencealwaysseparatesthebeautyofthecraftandformoftheperformancefromtheworldofimagery.,“WatchingaPlayIsWatchingFamousActors”,32,AsthefamousGermandramatistBertoltBrechtl(1898-1956)onceremarked.whenwewatchaChineseactorperformonstage,weseeatleastthreecharactersatthesametime:onebeingtheperformer(theactor),andalsothetworolesbeingperformed(theactorandtherole).HethuscallsperformanceinPekingOperaa“dualperformance”,animportantfeatureintheappreciationofPekingOpera.,“WatchingaPlayIsWatchingFamousActors”,33,MeiLanfang,Hewasanactorwhoplayedtheroleofyoungwomen(dan).TogetherwithChengYanqiu(1904-1958),ShangXiaoyun(1900-1976)andXunHuisheng(1900-1968),theywereacclaimed(称赞)the“fourfamedPekingOperafemale-roleperformers.”,MeiLanfang,GreatPekingOperaArtist,34,MeiLanfanghadamelodiousvoice,abeautifulstageappearance,withelegantdancingandmovementsonstage.Hecraftedanobleandnaturalimage,reachingthezenithoffemale-roleperformance.,MeiLanfang,GreatPekingOperaArtist,MeiLanfang,35,MeiLanfangmadeinnovationstotheartofPekingOperaindifferentaspects:Hecomposedmanynewmelodies,introducedfacialexpressions,movementsandthetechniqueofdancingtotheaccompanimentofsinging,fromKunquOperatoPekingOpera;healsocreatedvariousdances,suchasthesilkdance,sworddance,sleevedance,anddusterdance(拂尘舞).,MeiLanfang,GreatPekingOperaArtist,36,Hewasthefirsttousetheerhutosupportthejinghu(traditionalstringedinstruments),toaccompanysingingbythefemalerole,thusmusicallyenrichingPekingOpera.Healsomadeinnovationstomasks,hairstylesandcostumes.,MeiLanfang,GreatPekingOperaArtist,37,HisrepresentativeoperasincludeTheDrunkenConcubine,KingChuBidsFarewelltoHisConcubine,TheLanceoftheUniverse,andWomanGeneralMuGuiying.MeiLanfangsperformancesfullydemonstratedChineseclassicalbeautywitheverlastingallure(魅力).Heisworthyofthetitleof“masterartistofPekingOpera”.,MeiLanfang,GreatPekingOperaArtist,38,Exercises,Comprehension,Communication,Application,39,l.SkimmingandScanningGothroughthepassagequicklyandjudgewhetherthefollowingstatementsaretrue(T)orfalse(F)accordingtothepassage._1)PekingOperamaskshavebeenregardedasasymbolofChineseculturebymanycountries._2)ThebeautyofPekingOperaliesinthediversecolorsofPekingOperamasks._3)OnepurposeofPekingOperamasksistohelppeoplelearnaboutthecharactersoftheroles.,Comprehension,T,F,T,40,_4)TheexampleofZhangFeiinParagraph4istoshowhowvariedthedesignsofPekingOperamasksare._5)InappreciatingPekingOpera,theplotofthestorymaynotbethemostimportant._6)ThemostimportantaspectofPekingOperaperformanceliesinthesinging._7)Actingandfightinghelppropelthedevelopmentofthestory._8)EachPekingOperagivesprominenceonlytooneortwoactors._9)ThevirtualmovementsandvirtualsettingsinPekingOperaareeffectivebecausetheactorsperformanceoffsetsthedrawback.,Comprehension,F,T,T,F,T,T,41,_10)ViewersofPekingOperagotothetheatermainlytowatchthefamousactors._11)TheoldPekingOperasarenotsopopularasthenewonesbecausetheviewerscannotfeeltheexcitement._12)WhenappreciatingPekingOpera,theaudiencecanseethreecharacters:theactorandthetworolesbeingperformed._13)MeiLanfang,ChengYanqiu,ShangXiaoyunandXunHuishengarethefourmostfamousPekingOperaperformersinChina._14)MeiLanfangplayedtheroleofapretendedmadwomaninKingChuBidsFarewelltoHisConcubine.,Comprehension,T,F,T,F,F,42,II.CarefulReading,1.Readthepassagecarefullyandchoosethebestanswertoeachofthefollowingquestions.,1)WhyisChinesecuisinementionedinthefirstparagraph?A.ToshowthegreatinfluenceofChinesecultureontheworld.B.TodemonstratethepopularityofChinesefoodallovertheworld.C.TointroduceanotherimpressiveformofChineseculture,PekingOpera.D.ToindicatethatPekingOperaisasimpressiveasChinesefoodtoforeigners.,Comprehension,C,43,2)AccordingtoParagraph3,whatmaskshouldtheactorofQinHuiwearinPekingOpera?A.Aredone.B.Ablackone.C.Awhiteone.D.Oneintheshapeofabutterfly3)Theword“evocative”inParagraph4isclosestinmeaningto_.A.convincingB.imaginativeC.stimulatingD.suggestive,Comprehension,C,D,44,4)WhichofthefollowingstatementsistrueofPekingOpera?A.TherealcharmofPekingOperaiscreatedbytheactorsB.Theactorsusuallystandatthecenterofthestage.C.TheremustbefamousariasinanyPekingOpera.D.Speakingisdesignedtoattracttheaudiencesattention.5)WhichofthefollowingismentionedasinvolvedwithactingandfightinginParagraph10?A.Eyecontact.B.Kungfu.C.Aerobatics.D.Gymnastics.,Comprehension,A,B,45,6)WhatisimpliedbutnotstatedaboutthesettingofPekingOpera?A.Thesettingisallvirtualwithoutanyrealprops.B.Thesettingofthestageisverycomplex.C.Onepropcanservedifferentpurposes.D.Actorsareinchargeofchangingthestagesetting.,Comprehension,C,46,7)AccordingtotheexamplesinParagraphs17and18,thebenefitsofvirtualmovementsandsettingsarethat_.A.theysavethecostoftheperformanceB.theysavethelaborforceofchangingthestageC.actorshavemoreroomonthestagefortheirperformanceD.theyhighlighttheactorsperformance,D,Comprehension,47,8)WhatcanwelearnaboutPekingOperathroughthesaying“watchingaplayiswatchingfamousactors”?A.Theviewersgotothetheatertoseetheactorsinsteadoftheplay.B.Thefamousactorsaregood-lookingandperformwell.C.TheactorsaregoodatallofthefourbasicaspectsofPekingOpera.D.Theperformancesoftheactorsareasimportantastheplayitself.,Comprehension,D,48,9)WhichofthefollowingisthedistinctfeatureofwatchingaPekingOperaascomparedwithseeingafilm?A.ThePekingOperatheatergoerspaymoreattentiontotheroles.B.ThePekingOperatheatergoersapplaudfromtimetotimewhilewatchingaC.Theaudienceofafilmapplaudwhenseeingapersonperformingstunts.D.Theaudienceofafilmvaluethebeautyofthecraftsothattheyignoreimagery.,Comprehension,B,49,10)WhichofthefollowingisNOTtrueaboutMeiLanfang?A.HewrotesomeplaysforPekingOpera.B.Hecreatedvariousdances.C.Hecomposedmanynewmelodies.D.HeenrichedPekingOper