2. 外语
  3. 先生们、女士们： 下午好!欢迎出席“中国昆曲国际研讨会”开幕式。也感谢大家对振兴昆曲传统艺术事业的大力支持。 昆曲又称昆(山)腔，相传是元末明初昆山人顾坚始创，距今已有700多年的历史，是我国传统戏曲中最古老的剧种之一。明嘉靖年间(1552

先生们、女士们： 下午好!欢迎出席“中国昆曲国际研讨会”开幕式。也感谢大家对振兴昆曲传统艺术事业的大力支持。 昆曲又称昆(山)腔，相传是元末明初昆山人顾坚始创，距今已有700多年的历史，是我国传统戏曲中最古老的剧种之一。明嘉靖年间(1552

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问题 先生们、女士们：
    下午好!欢迎出席“中国昆曲国际研讨会”开幕式。也感谢大家对振兴昆曲传统艺术事业的大力支持。
    昆曲又称昆(山)腔，相传是元末明初昆山人顾坚始创，距今已有700多年的历史，是我国传统戏曲中最古老的剧种之一。明嘉靖年间(1552年一1566年)，昆曲经魏良辅改革，形成委婉、细腻的曲调。当时的剧作家梁辰鱼的创作为昆曲奠定了牢固的文学基础。在伴奏方面，除了起初的弦索之外，又加上了笙、箫、管、笛等乐器，形成管弦并举，这比当时流行的其他声腔有很大的进步，令人耳目一新，于是很快流传开来。
    至明万历年初，昆曲扩展到江、浙各地，成为压倒其他南戏声腔的剧种。随之由士大夫带入朝廷，与弋阳腔并为宫中大戏，当时称为“官腔”，从此成为剧坛盟主。明万历至清嘉庆年间(1570年一1800年)，是昆曲声名最辉煌、成就最显著的阶段，汤显祖的《临川四梦》——《牡丹亭》《南柯记》《邯郸记》《紫钗记》以及洪昇的《长生殿》，孔尚任的《桃花扇》一时风靡天下，昆曲达到鼎盛时期。
    昆曲的文化价值主要表现在剧本、音乐和表演三个方面。昆曲剧本采用宋、元时代的杂剧传奇的结构方式，每出戏通常有24折，每折戏自成单元，都有一个贯穿在总情节上又相对完整的小段情节，因而许多单折戏可以独立演出。在文学语言上，它继承了古代诗词及元曲的优点和长处，采用长短句交替的文体，文辞华丽典雅。昆曲的音乐属曲牌体，唱腔婉转细腻，吐字讲究。昆曲的表演载歌载舞，程式化程度非常高。由于昆曲文词过于典雅，唱段中经常伴以舞蹈动作来表现人物的内心感情，这就大大增加了表演的难度。昆曲融诗、乐、歌、舞、戏于一炉，在中国文学史、戏曲史、音乐史、舞蹈史上都占有重要的地位，对众多戏曲品种都产生过深远而直接的影响。有“国粹”之誉的京剧就曾从昆曲汲取过营养，如京剧中载歌载舞的剧目都是由昆曲移植加工而来的。昆曲当之无愧地被称之为“百戏之祖，百戏之师”，具有很高的艺术价值和学术价值。
    谢谢!下面请欣赏由我国著名昆曲艺术家所表演的几个经典段子。
选项
答案 Ladies and Gentlemen, Good afternoon. Welcome to the opening ceremony of the International Symposium on Chinese Kunqu Opera. We’re grateful for your great support for the cause of invigorating Kunqu opera. Kunqu opera, also named Kun (shan) melody, has now a history of more than 700 years and is one of the oldest styles among traditional Chinese dramas. It was said to have been founded by Gu Jian in the last years of the Yuan dynasty and early years of the Ming Dynasty. During the reign of the Ming Emperor Jiajing (1552-1566) , Wei Liangfu transformed it into one with rhythmic and refined melody. Liang Chenyu, a playwright, helped through his creations lay a solid literary foundation for the opera. In musical accompaniment, such instruments as sheng, xiao, guan and di were added to the band. Together with its original string instruments, a combined string and orchestral band was formed. This was a great improvement on the vocal opera at the time. Because of this novelty, it gained immediate circulation. By the early period of the reign of Emperor Wanli, Kunqu opera had spread to vast areas of Jiangsu and Zhejiang provinces and become a predominating drama style among the local dramas in South China. Later on, it was brought to the imperial court by some literati and officials and became an instant hit together with Yiyang melody, called then the Official Melody, and established its leading position among all performing arts. The years between the reign of the Ming Emperor Wanli and that of the Qing Emperor Jiaqing (1570-1800) saw the heyday of Kunqu opera with its most outstanding achievements. With the widespread popularity of Four Dreams of Linchuan — the Peony Pavilion, a Dream of Nanke, a Randan Story and the Purple Hairpin by Tang Xianzu, and the Palace of Eternal Youth by Hong Sheng and the Peach Flower Fan by Kong Shangren, Kunqu opera reached its zenith. The cultural value of Kunqu opera lies in three aspects: plays, music and performance. The plays in Kunqu opera adopt the structure of the romantic poetic drama with each play made up of 24 zhe. Each zhe can stand by itself, but has a complete story line related to the general plot, making it possible to perform each zhe independently. The language is refined and elegant and has drawn the strengths and merits from ancient Chinese poetry and verses in the Yuan dynasty, with alternations of long and short sentences. Its music is named according to the tunes adopted, and the singing is refined and rhythmic and the pronunciation is delicate. The Kunqu performances combine both dancing and singing, which are highly formulaic. Just because of its elegant lyrics, dancing movements are often added to bring out the inner feelings of characters, hence the difficulty of performing increases. Kunqu opera with its combination of poetry, music, singing, dancing and storytelling occupies a unique place in the Chinese history of literature, drama, music and dancing, and has exerted far-reaching and direct influence on many other dramatic styles. Peking opera, which is named our national treasure, has drawn nutrition from Kunqu opera. Here is a case in point — the plays with singing and dancing are all adapted from Kunqu opera. So Kunqu opera deserves to be called the father and mentor of all drama styles, with its high artistic and academic values. Thank you. Now you’re invited to enjoy some classic excerpts of Kunqu opera performed by several famous Kunqu masters of China.
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