儒易翻译大赛参考译文

儒易翻译大赛参考译文

城市人口的急剧增长，造就了新兴剧院旺盛的欣赏者人流，因而为经营者带来了丰厚的利润。但是面对这个主要是由那些不熟悉传统的观众组成的群体，原来茶园的经营方式，尤其是由资深戏迷引领和以众多戏迷为主要对象的北京茶园的经营方式，显然面临着巨大与严峻的挑战。晚清年间上海的戏院经营者们为了吸引对京剧几乎一无所知的观众而创造出的各种商业手段﹐在民国年间进一步被发扬光大。从新舞台开张时起，上海的戏院的经营策略，就显现出了与北京茶园演剧的显著区别，而且直接导致了剧院内演出内容与风格的变化，形成了与所谓“京朝派”相对的“海派”。以唱功论，如果说“京朝派”的演员们追求京腔京韵的“味道”，那么，“海派演员则不像京派那样刻意求工，不那么注重声乐技巧，而是比较讲究有劲和有力,关键的唱句,往往一鼓作气,不激起哄堂彩声不肯罢休。”[杨常德:《说南派，话海派》，《戏曲菁英(上)》，《上海文史资料选辑》第61辑，第248页。]这是符合上海这个急速崛起的城市里大量新涌入剧院的市民观众之欣赏需求的，海派的表演风格与特色，正是出于吸引这些中下层市民观众的目的，才因此愈演愈烈。“一般地说，海派京剧的演出，无论唱念做打，都很卖力气，但往往失之火爆驳杂，虽然被一些人视为不登大雅之堂，却又很受‘三层楼观众’的欢迎。”[杨常德:《说南派，话海派》，《戏曲菁英(上)》，《上海文史资料选辑》第61辑，第248页。]而在民国年间，在这个城市里，新式剧场里的各种新景象与新招数，更加放肆地张扬其帜。

民国年间，上海戏院的京剧演出更加重视连台本戏，它甚至成为各家戏院最下功夫打造的提款机。清末年间由王鸿寿、赵如泉等长驻上海的演员们开始的连台本戏编创演出的势头，进入民国后更爱有变本加厉的趋势，这是该时期上海戏剧发展最强有力的引擎。

“二十年代，上海的连台本戏无论从演员、观众、剧目上说，都成为传统戏的强劲对手。试举1920年元旦这一天部分重头戏戏码为例:天蟾舞台日戏三本《铁公鸡》，夜场杨小楼双出《铁笼山》《盗御马·连环套》﹔大舞台日戏三本《铁公鸡》，夜戏全本《目连救母》﹔共舞台日戏《新纺棉花》﹐夜戏十二本《宏碧缘》;新舞台日戏《法国拿破仑》，夜戏十本《济公活佛》﹔亦舞台日戏《状元录》，夜戏头本《风波亭》﹔丹桂第一台日戏《李陵碑》及昆曲《痴梦》，夜戏《胭粉记》及昆曲《牡丹亭》。当时最高票价每张银洋一元，而最好的粳米七元四角一石，一张戏票值一斗多米，够贫苦人家几天口粮。不难看出，如果戏码不硬，演员阵营不强，很难吸引观众。而这几大剧场几乎都有连台本戏，即使曾在内廷供奉、受到西太后赏识、名闻全国的武生泰斗杨小楼，虽是临别纪念，最后几场戏也要唱双出，才能敌得过连台本戏的竞争。”

答:右图一共大约有300枚棋子，把图中的棋子分成5行3列，先算出图中围起来的20枚棋子的总格数，再用总格数乘以每格围起来的20枚棋子。

译文

booming urban population brought about a thriving

host of goers to new-style theaters,which earned theater

operators handsome profits. However,with most audience

unfamiliar withPeking Opera traditions, the original teahouse

business model—especially the Beijing 's teahousebusiness

model led by senior fans and mainly targeting many others—was apparently confrontedwith huge and grim

and every business approach created by Shanghai's

theateroperators in the late Qing dynasty to attract audience

who had almost no idea about Peking Operawas readopted and

further innovated in the Republican the opening

of thesenew-style theaters, the business policy of Shanghai's

theaters had shown significant differences incontrast with

that of Beijing's teahouses, and had directly led to changes

in the content and style ofthe performance in theaters, thus

giving birth to Shanghai School (haipai) of Peking Opera, a

newschool compared with the old Capital School (jingchaopai)

of Peking Opera. In terms of singing,if we say actors of Capital

School pursue the very "taste” of authentic Beijing-style

Peking Opera,then“actors of Shanghai School do not dedicate

every effort to perfection,or pay so muchattention to vocal

skills. Instead，they focus more on singing powerfully and

vigorously. Theyalways sing those key lines all at one fling,

and refuse to give up until they win loud cheers inunison from

the audience" . (Yang Changde: On Shanghai School of Peking

Opera, Peking OperaElites Vol.1,Compilation of Literature and

History Materials of Shanghai,Vol.61,p248) Thismatched the

entertainment demand of a great many citizens, also new theater

goers living in thefast-rising city of Shanghai. It was right

for the purpose of attracting these lower- and

middle-classcitizens that the performing style and

characteristics of Shanghai School developed fast and

gotincreasingly widespread.“Generally speaking, in

performances of Shanghai School of PekingOpera, actors work

hard on singing, recitation, acting and acrobatic fighting, but

such hard workalways carries with it shortcomings of violence

and impurity. Though considered by some as notelegant enough,

Shanghai School is very popular with the 'third-floor

audience'.”"(Yang Changde:On Shanghai School of Peking Opera,

Peking Opera Elites Vol.1,Compilation of Literature andHistory

Materials of Shanghai,Vol61,p248) During the Republican period,

in those new-styletheaters of the city, all kinds of new scenes

and new approaches were witnessed more unbridledthan ever

before.

the Republican period, with the emergence of new-style

theaters, the scale and the seatingcapacity of theaters

registered a leap. In Beijing, the first new-style theater

First Stage(Diyiwutai),built in 1914,was able to accommodate

up to 2600 people,and was equipped with lighting,revolving

stages, etc., together with a curtain in the front and backdrop

in the back of the stage. InTianjin， Grand Stage (Dawutai) and

China Grand Theater (Zhongguo Daxiyuan),builtrespectively in

1915 and 1936, also had large seating capacity of several

thousand seats, for whichthey were famous. In face of so large

an audience, business approaches were sure to change,which

injected strong economic dynamism into the expansion of the

influence of Shanghai Schoolof Peking Opera.

the Republican period, Shanghai's theaters focused

more on the performance of serial plays(Liantaibenxi), which

even became the cash machine to which most efforts were devoted.

Thetendeney initiated by Wang Hongshou and Zhao Ruquan, among

other resident actors in Shanghai,to write and perform serial

plays turned even intense during the Republican was

themost powerful driving force for the development of Shanghai

School of Peking Opera during thattime.

4.' In the 1920s，,serial plays performed in Shanghai turned

into a powerful opponent to thetraditional Peking Opera in

terms of actors， audience and take the plays

thatinvolve lots of hard singing, recitation, acting and

acrobatic fighting for the New Year's Day of1920 for example:

on Heavenly Toad Stage(Tianchanwutai)， three episodes of Iron

Cock(Tiegongji) for day performance,Iron-cage Mountain

(Tielongshan) and Stealing the ImperialHorse / Mountain

Fastness Lianhantao (Daoyuma Lianhuantao) both by Yang Xiaolou

for nightperformance;on Grand Stage (Dawutai)， three episodes

of Iron Cock (Tiegongji) for dayperformance, full episodes of

Mulian Rescues His Mother(MuLian Jiumu) for night

performance;on Common Stage(Gongwutai), New Spinning Cotton

(Xin Fangmianhua) for day performance,Love between Luo Hongxun

and Hua Bilian (Hongbi Yuan) for night performance; on New

Stage(Xinwutai)，Napoleon of France for day performance, ten

episodes of Living Buddha Ji Gong(Jigong Huofo) for night

performance; on Also Stage(Yiwutai), Records of Number One

Scholars(Zhuangyuan Lu) for day performance, the first episode

of Fengbo Pavilion (Fengbo Ting) fornight performance; on Red

Cassia First Stage (Danguidiyitai), Stele in Memory of Li Ling

(LiLing Bei) along with Pipe Dream (Chimeng) of Kun Opera (Kun

qu) for day performance,Stratagem of Giving Cosmetics

(Yanfenji) along with Peony Pavilion (Mudanting) of Kun

Operafor night then, the most expensive

ticket cost one silver dollar, while the rice ofthe best quality

was seven silver yuan and forty cents a dan (disused volume unit,

roughly equal to100 liters).Thus, one ticket was worth over one

dou (disused volume unit, roughly equal to 10liters) of rice,

enough for a poor family to eat for several days. It is quite

evident that without astrenuous repertoire or a stellar cast

to play, it would have been hard to attract ng

Xiaolou, a nationally famous actor of martial-arts roles, who

had performed at the court andhad been admired by Empress

Dowager Cixi, had to perform two plays at a time during his

lastperformances in memory of his career，in order to gain the

upper hand in the competition withserial plays.”