英语歌剧培训文案模板

歌剧魅影剧本 AUCTIONEER: Sold. Your number, sir? Thank you. Lot 663, then, ladies and gentlemen: a poster for this house's production of "Hannibal" by Chalumeau. PORTER: Showing here. AUCTIONEER: Do I have ten francs? Five then. Five I am bid. Six, seven. Against you, sir, seven. Eight. Eight once. Selling twice. Sold, to Raoul, Vicomte de Chagny. Lot 664: a wooden pistol and three human skulls from the 1831 production of "Robert le Diable" by Meyerbeer. T en francs for this. Ten, thank you. Ten francs still. Fifteen, thank you, sir Fifteen I am bid. Going at fifteen. Your number, sir? 665, ladies and gentlemen: a papier-mache musical box, in the shape of a barrel-organ. Attached, the figure of a monkey in Persian robes playing the cymbals. This item, discovered in the vaults of the theatre, still in working order. PORTER: Showing here. AUCTIONEER: May I start at twenty francs? Fifteen, then? Fifteen I am bid. Sold, for thirty francs to the Vicomte de Chagny. Thank you, sir. RAOUL: A collector's piece indeed . . . every detail exactly as she said . . . She often spoke of you, my friend ....Your velvet lining, and your figurine of lead... Will you still play, when all the rest of us are dead? AUCTIONEER: Lot 666, then: a chandelier in pieces. Some of you may recall the strange affair of the Phantom of the Opera: a mystery never fully explained. We are told, ladies and gentlemen, that this is the very chandelier which figures in the famous disaster. Our workshops have repaired it and wired parts of it for the new electric light, so that we may get a hint of how it may look when reassembled. Perhaps we may frighten away the ghost of so many years ago with a little illumination, gentlemen? Hannibal CARLOTTA: This trophy from our saviours, from our saviours! From the enslaving force of Rome! GIRL'S CHORUS: With feasting and dancing and song, tonight in celebration, we greet the victorious throng, returned to bring salvation! MEN'S CHORUS: The trumpets of Carthage resound! Hear, Romans, now and tremble! Hark to our step on the ground! ALL: Hear the drums -- Hannibal comes! PIANGI: Sad to return to find the land we love threatened once more by Roma's far-reaching grasp, REYER: Signor . . . if you please: "Rome". We say "Rome' not "Roma" PIANGI: Si, si, Rome, not Roma. Is very hard for me. LEFEVRE: This way, gentlemen, this way. Rehearsals, as you see, are under way, for a new production of Chalumeau's "Hannibal". Ladies and gentlemen, some of you may already, perhaps, have met M. Andre and M. Firmin ... REYER: I'm sorry, M. Lefevre, we are rehearsing. If you wouldn't mind waiting a moment? LEFEVRE: My apologies, M. Reyer. Proceed, proceed ... REYER: Thank you, monsieur. "Sad to return..." Signor ... LEFEVRE: M. Reyer, our chief repetiteur. Rather a tyrant, I'm afraid. PIANGI: Sad to return to find the land we love threatened once more by Rome's far-reaching grasp. Tomorrow, we shall break the chains of Rome.

哈？？？500词？？？LZ你没搞错么？？？一说稍微长一点的两三首歌就差不多快500词了。。。。还要对话。。。。一说LS的已经给出了序幕的剧本。。。。光序幕差不多已经小700了吧。。。。。而且唱词也就那么几句。。。。

The Chinese opera is a traditional form of stage entertainment, weaving together elements of mime, dance, song, dialogue, swordplay, and acrobatics into one fluid continuous flow. Gestures, movements and expressions incorporated within each performer's script come together to bring forth an impressive performance. In contrast to Western stage entertainment, which is subdivided into different categories such as opera, drama and sketches, Chinese opera has remained faithful to its original format over the centuries. Although sharing a common ancestry, Chinese opera boasts over 300 various distinct forms - taking their names from their places of origin. These forms are generally discernible by their use of local dialects and distinct 'melodies'. Beijing opera is considered by most to be the most refined. Also widespread are Pingju Opera, Kunqu Opera, Shaoxing Opera, Henan Opera, Sichuan Opera, Shanxi Opera, Huangmei Opera, Huagu Opera and Yangko Opera. Some Chinese ethnic minority groups have some local form of operas. ------------English Renaissance drama grew out of the established Medieval tradition of the mystery and morality plays (see Medieval English Drama). These public spectacles focused on religious subjects and were generally enacted by either choristers and monks, or a town's tradesmen (as later seen lovingly memorialized by Shakespeare's 'mechanicals' in A Midsummer Night's Dream).At the end of the fifteenth century, a new type of play appeared. These short plays and revels were performed at noble households and at court, especially at holiday times. These short entertainments, called "Interludes", started the move away from the didactic nature of the earlier plays toward purely secular plays, and often added more comedy than was present in the medieval predecessors. Since most of these holiday revels were not documented and play texts have disappeared and been destroyed, the actual dating of the transition is difficult. The first extant purely secular play, Henry Medwall's Fulgens and Lucres, was performed at the household of Cardinal Morton, where the young Thomas More was serving as a page. Early Tudor interludes soon grew more elaborate, incorporating music and dance, and some, especially those by John Heywood, were heavily influenced by French farce. Not only were plays shifting emphasis from teaching to entertaining, they were also slowly changing focus from the religious towards the political. John Skelton's Magnyfycence (1515), for example, while on the face of it resembling the medieval allegory plays with its characters of Virtues and Vices, was a political satire against Cardinal Wolsey. Magnyfycence was so incendiary that Skelton had to move into the sanctuary of Westminster to escape the wrath of Wolsey. The first history plays were written in the 1530's, the most notable of which was John Bale's King Johan. While it considered matters of morality and religion, these were handled in the light of the Reformation. These plays set the precedent of presenting history in the dramatic medium and laid the foundation for what would later be elevated by Marlowe and Shakespeare into the English History Play, or Chronicle Play, in the latter part of the century. Not only was the Reformation taking hold in England, but the winds of Classical Humanism were sweeping in from the Continent. Interest grew in the classics and the plays of classical antiquity, especially in the universities. Latin texts were being "Englysshed" and latin poetry and plays began to be adapted into English plays. In 1553, a schoolmaster named Nicholas Udall wrote an English comedy titled "Ralph Roister Doister" based on the traditional Latin comedies of Plautus and Terence. The play was the first to introduce the Latin character type miles gloriosus ("braggart soldier") into English plays, honed to perfection later by Shakespeare in the character of Falstaff. Around the same time at Cambridge, the comedy "Gammer Gurton's Needle", possibly by William Stevens of Christ's College, was amusing the students. It paid closer attention to the structure of the Latin plays and was the first to adopt the five-act division.Writers were also developing English tragedies for the first time, influenced by Greek and Latin writers. Among the first forays into English tragedy were Richard Edwards' Damon and Pythias (1564) and John Pickering's New Interlude of Vice Containing the History of Horestes (1567). The most influential writer of classical tragedies, however, was the Roman playwright Seneca, whose works were translated into English by Jasper Heywood, son of playwright John Heywood, in 1589. Seneca's plays incorporated rhetorical speeches, blood and violence, and often ghosts; components which were to figure prominently in both Elizabethan and Jacobean drama. The first prominent English tragedy in the Senecan mould was Gorboduc (1561), written by two lawyers, Thomas Sackville and Thomas Norton, at the Inns of Court (schools of law). The play is also important as the first English play in blank verse. Blank verse, non-rhyming lines in iambic pentameter, was introduced into English literature by sonneteers Wyatt and Surrey in the 1530's. Its use in a work of dramatic literature paved the way for "Marlowe's mighty line" and the exquisite poetry of Shakespeare's dramatic verse. With a new ruler on the throne, Queen Elizabeth I, who enjoyed and encouraged the theatrical arts, the stage was set for the body of dramatic literature we today call Elizabethan Drama.