eC M Curae) Roca et em lt} Oe ceouuee Cem mucao tac nec z :POAT Aa See 1 | 38% znoming [J] famous, well-known 2) | Stak iingdi’n [44] scenic spot, tourist attraction 3 | Ange stimin urban resident 4 | $4 chdnaws [4%] location, place 5 | RAE kuaibsn [44] rhythmic monologue (usu, comic {o'the necompanien of bamboo clappers 6 | HR chéngilan [TE] commonly seen, common LIF, shudchang [4] an artistic form of music, spoken with rhythm (eg. rap) 8 | 3s Iezdu [4%] rhythm, a regular pattern 7 9 | URE noshe [3h] {tell about, to narrate, to relate fe 2 BF RH ARAB BAYH EREPREGUG, MACE RABSA 04 FR A Ao RAR AAR IR 9 BR DUNO L, BRA BARA EAD RMR, BRAY DRM — AR BSR, AMAA HARARE, AT A, ADE EAH, AAA.SOR |e & FRE HRERM, FRRY BRE FRMLTHERH IMAGEN EZ, ABA (meng xin) RIX AAR RATA YEE URMEMRLILORRERE, Me te AR ar FEF, LEAR BUA A Ib —AP RI] CAR, MPRA, RAH ES A dr REOLBER, REAEHRBRA RA RKAE H+ BAR, WAIT AG, LURES XY sate, a Tao LAIR YD 20 AA ET ERE AWE EBM (Goo rongsnan), AM Ate “PHRAL”, Het 24h RVMARE RM MHC, REMAHAK, Hs, AYM HY P Ho 2 RAY AR HS, EO FIR AL BRAK, 19 F FRE Fe, WEG, Lap RR MACT eH Te BER, RAAT MAG 28 IL——4 RARER HA, RT, MRAMHD HLA A fe Oh kM Kl ALY HR Hl—A} 6 HA. IRB (zhong chéng) RAK H—A 15 HH B—kA, RRAMAEMAERFA, 2 07 Passing down China's Folk Arts 21 2 23 24 25 26 0 sor i HOI sntidivdo [4%] rhythmie story-telling to the accompaniment of clappers A pang [a] 10 coordinate, 0 cooperate oy [3h] Hitt to hit, to strike oF ping [6] flat, smooth: HH tonaling [4%] brass bell We am (4) foe art forms incl ballad'sining, story-telling, omic diloguts, ee FF. wang [4%] if beso singest ind vidal ator ‘lip, chuenot (a) 10 initiate or establish i pai [4] ‘group, school (of thought, ete.) I 1 U8] circle, field ‘Rafi, dei [4%] position, status 487K jonéng [3h] to carry on (a task unfinished by ‘one's predecessors), to inherit HAIR JL, juenudr [4%] ‘one's unique or best skill MBA. chuénrén [4%] 4 person who can inherit and pass on acertain branch of learning, shill ete at this moment, at present, now RE iv [A] an art, a skill AH shoo [il] alittle, slightly, somewhat A oi D8)AS ines Fa Sh BT The foreign student performing huaiban HT 08 [4h] from HI3h_ yonea6ne [JE] hardworking, industrious Fay vonten [44] fnnate talent, born genius HD fiona [Hall] soon, t0 be about, HWA xoshr [3h] 10 disappear, to vanish 484%) chudn(shou) [ah] to pass on ei t6ngting [a] to be of the same age SRIF chéngvai [3h] {0 respect, to admire, to worship HMR Suxiang [41] image, idol $F] zhuonmén [Ef] specially Sa bin [Zh] to compose, 10 write Fay ydnoxin [FE] diligent, with concentrated attention fem tool [4] apprentice, disciple gs Baro CREP RM, PRACT RY RA, OLA, La AS LEKRAMBRALK, ALHAK, KEMHERKDMA, Hab, eh — A wib RK ERA ACMA, RS Pa HA RIS RBI IL, EAT ANE AR EL T te, AGP ORERAEE ORR, F eT LE, eA, BREA, ERR KE ALARA HR, WR LE PALE SOAR, LILA, LHUSPBAHHA, 40 AIRS ST -ARGAGRBY IRR, KF, WME RE RDI], HIRE WER FS, BKRLEDRDG L, HAAS MER ARAB BR SAE BRAD, Hee BRD TAA ATE HA, RG FI tk 60 POR, WAM HRAR, eee Boj, cA MR ih a Oy ik Hea HIG, aRBR |e S Hie Yo fT AR AN BO eA x LRH ZARB AAR, KAA R HLL ROTH, RARH, FATE Tex.” DLAI AG He HY Ri] 1, RATA ME RAR, RMAF ARI, RRA RK DA, A-ZERFRAUMRP, CARMA ERACARPREDKES. 100 $ Fit, AMMCBRS APRRA ATER IEA. RY RM CARP A EMEA, EREAG, MGA, HA wh, SRAM HE, RA, RA FMI, CARS HABABA, Ril, MAAR AT SAR SE aA, MINA Gb stAYH BM, H TART, WIN Dy ie Bh ty IL 88, SIL, ik ML DE, Bat Af BR Bas, By Performing kuaiban at Tiangiao in the old times 07 Passing down China's Folk Arts 47 48 49 HLH baochou [4%] ati (ay) {o acoumulate o build up (know sexpetiohee, et) APH duidea! [ah] to be worthy of, not to let sb. down 4& oi [hi] tobe close to, tobe next to Feb wish [] fots of, numerous PAT wire [4% J stage or arena with footlights J-K guinea [Jf] HZ maiyi logan rt Ces Fake living Gn the pa) wy w6 [A] ier BA wish 4) oir Niet a boxing, swordplay, et AGE 20H [4] acrobaties, JER kavan [3] (ofa play, movie) to begin BEAR shidai [4%] Age, era, epoch Tle, maniin [3h] tobe faced with, to be confronted with Aefe shéngoin [3h] (0 subsist, to live JebL wen [44] f shou [ 4 classifier for skills, craftsmanship, abil ete HAY ween [3h] {0 suppor, to keep148, RMR XM, (OTA ik, AEBS EAB ‘Tiangiao Civic Cultural Square is located in the original site of ‘Tiangiao, There are sculptures of ‘well-known actors of the old times. sy 4p. dangnian [4%] in those years or days, at that time 61 | Hig® menmdo [4] (of things) look, appearance 62 | PB shduduen [44] means 63 | Wilh pobian [1] Widespread, universal 64 | ®t 2arenéng [3h] to respect HEI inyibo [Hil] futher vA ou [3h] (used hetween two verbs) despite regardless of 67 | BH woyibei (4) older generation PE sub (BH) used before a monosyllabic transi tive verb to form a nominal phrase 69 | “ff danozud [2] to treat as, to regard as td | UEAEJL_ n&ohoor [fil] to the best of one’s ability A, MARA ORME, RACE RAT SEEGER, RM CRAG ILEBA REAM MABHAE MFR, CRF WM AKG LH RAR HAT AW AR Fe HR, ASM RHO RPE, RM REM RAALBS, RA ZAWRA TAN GH BSE. FIRE, RE-AHM RAD LH BR WHLE RMR, AT AAR DM, AM HIRI He A 0 Hw, REAM RARER, Rit, WAR, ELGAR KLPATREMRR, PRAWHE, & BERT ALEE—FTAM RRL LER A MFA, RELA ACHAT, i, FIRMARTR, BURA BAER MRE BRACKET AS MAS, PRA R AIL BioBOR |e S ATERRIM, HH MIL, CHK RRMA RE RT —BRARH, AK ZF AB Ao AL Ry We deh, HE Lh, GR, BAHAI MM KIL BRAS 2A AE a OUI, PARAM RMU AA RAE E, WA RAG RI CARP aE RO K, sep, RA KMLE, RMA, Kid HGERSMR, LEER AMR FH TAH KMUE, BRAM, SK, K Be OW RM EAR BIR ART AS AE Be WAT, ORAS FBAR EOE —R— RERFE, 07 Passing down China's Folk Arts ying on the art of aid, 1 | WR pi [aH] to popularize, to make universal 72 | HLEL riorkéng (44) fee 73 | AE) shengdéng [JB] vivid, lively iff zheng [3h] ‘open (one’s eyes) AIR peitu [2] toadmire, to think highly of 16 | AeA muh (4 fine ans 4 15 77 | eam ovudn [3h] (followed by +) to originate fom B | AR di (44) ‘eneration1268 FRE A BEE A BIRR HK ntertainment Forms of Young Peo “SADR TARA BAR T RS iba,” SAE, BRB CR BAMA IN 2, Ad WRAARARG ABS, AN, Ab Ved, HUMES GL-E neaBRSA AE SHE LIRA PRR HAR. WN ADE RK, UR, FRU, 3) W. DIY BRR ALE 8 BURA BI 50.3%, {ERIE TI RA ASE, AMBULAT 18.3% All 12.3% AE “Zsa” 2007 AEM TAA, EK SPREE, EMM, RRL OK, Tie DA A ATE WHEMUEAR, Teh, EWG ARS 47%, RS AAR. MEL PRR. AREA). SUA AE RRB, a A He, SREP BAM Ade AIT Aes 5 In China today, with the reform and opening up and economic development, people’s entertainment consumption pattems are becoming increasingly diverse. Watching TV and movies, surfing the Internet, killing time in bars, building up the body in fitness centers, traveling, etc. are all among ordinary people’s popular ways of entertainment. For young people, network entertainment, mobile entertainment, watching cartoons, DIY and other new forms of entertainment have accounted for 50.3% of their entertainment activities, leaving sports and watching TV as traditional forms of entertainment accounting for 18.3% and 12.3% respectively. According to the 2007 survey report by Horizon Research, surfing the Internet, karaoke and traveling are popular entertainment forms among university students. Of the three, surfing the Internet, with a percentage of 47%, ranks No. 1. When the gender perspective is taken, electronic games, sports and drinking with friends are preferred by male students, while reading books, watching movies, participating in community activities are female students’ favorites. BixSti | fe & 07 Passing down China's Folk Arts HH; Pea ANS “RAMA AT ARSE, Fa LUE HE AIG AB IPH AMER, MARAE” HY 2 Se ABM SAT As Aly RES TAD CE ABE 2A ETE Ei: EAE BE AAR ETN BLAU RSG, AGS ARR, BBR 5 SUERATT HER SAAT 300 St, BRA FESD, FBS AE IS ER , SADT RTA, POW SOU, Ib. BLOAT. oh ARMA, RAE, Quyi is a general term for a variety of speaking and singing art forms in China, It evolved from ancient oral folk literature and speaking and singing art, When telling stories, expressing thoughts or reflecting social life, its major artistic techniques are movement- accompanied speaking and singing. There are more than 300 popular folk art forms in today’s China, Besides comic dialogues, others often have a strong local color, in which dialects are used to reflect the local conditions and customs, for instance, kuaiban (clapper talk), errenzhuan (drama of twain players in northeast China), Suzhou pingian (storytelling and ballad singing in Suzhou), etc. In the past, guy/ as a collection of various folk art forms was very popular among Chinese people. ABR RAT FARAH AK 9 Nl 2 FE “BORO” Be ALAA RE ARB 4 Kuaiban and shulaibao are both popular in northern China, mainly showing the art of speaking. Kuaiban is rhythmic to the clapping of bamboo clappers, while shulaibao is timed by the beating of ox bones tied with copper bells or bamboo clappers. “pe” FTAA, s LGM RA RAE AGAR Se Ha, ATA THA RMR RE AEM 2, BRE » P58 (AST), RB AE 120BEAL PRUE. AELSc UAHA ris , PPS (7328 > 1 A 2 Bt PET 22 IT. BR ot SPE THEM TAREE MA ELA (I EL SABIE China is among the countries adopting international standards of weights and measures. In accordance with the state regulations, kilogram and meter are statutory metrics. In real life, however, people are still accustomed to using traditional weights and measures to make transactions. Such units as jin, lang, chi and cun are still in use in Chinese people’s daily life. ART AS SAL 2 a 5 Fs Ha FR TI UR MT Some commonly used traditional Chinese units vs. international metric units: Axil metric system FIAT kilogram (kg ) ORVARR meter (m) tar) Fi jin Vii liang FRehi 3 hang. sf cun traditional Chinese unit (=1/2kg) | (=1/10jim) (=1/3m) — (=10chi) (= 1/1 0h!) 608 - eZ “B48 60 F ODITAR, FEAR ADA RACE ARH eA” VIS “BL ASGESS. ARSENIO” AEH. AREAL AS CEES TEA is BRE, AVEDWEINE EE, ELF EATS LADS, (WARS RA BAAR. FAG tL HMR AMAA 60 FLATT TARA MNE A » In old times, there was the saying “the master will be starved if he passes on his skills to his apprentice”. For the folk artists living at the bottom of society, their skills were their means of livelihood. Once their best skills were learned by others, they would easily lose their sources of income. Therefore, as a general rule, the folk artists in the past did not look for a suitable successor until they were over 60 years old. {EOMR MATER RN, HARM IER, ATHORUMISCA AT oe FANG A. AFAR TROIS HER BL, RUMMAGE EAE, TY SESAME BE AE. RIAD BRD GES — IS — OFT, GE RT AMA ZI, TARA T Zh. DACA “PEAR” INSU, CE FEB. IMEI, KMZART RACER TIER, ARLE TSH}, SOMATA YO UAE Waa TER BoBR |e Ss There are strict rules in selecting the successor of a skill fr craft, and the chosen one needs to go through a formal, public ceremony before becoming a direct descendant of the ‘master, For the younger generation of folk arts, the master= apprentice relationship and the corresponding position in the art family hierarchy are very important to their identity and professional qualification recognition, Folk arts are generally passed down by means of oral instructions, so that the master-apprentice relationship is mixed with the love of a son for his father. There used to be a rule in the folk art circle that only male apprentices could be chosen. Since 1949, folk artists have become professional artists. Since they no longer need to worry about their food and clothing, and men and women have enjoyed equal status, such old rules have been gradually repealed SR, WGA AER IER AER. EE UH TE 2 ARAM 4G EE i 2B fo AT BAG ANAT, SHUBUNAISCAG AST] nea PTE ERE, LEE AIRS A WE TEPER Fa BO AR BS SEBUSCA LAI 6 Today, tradi nal folk art forms are faced with Zhao Benshan, a famous artis 07 Passing down China's Folk Arts BALA RAEN, isholding the disciplerectuiting ceremony. great challenges from the ever increasing forms of entertainment that are available to ordinary People. Many traditional folk art forms are on the verge of disappearance. In order to change this situation, local governments and cultural sectors have set up schools which are specialized in training folk art successors among young people. Various social forces have also begun to actively advocate and rescue these precious cultural heritages. E- RK “100 SPIT, RARE ERAS AT RAR ACR ARR AGRA.” ASPET — MEE, VASE AIRTEL, RUF ARAL UR AIT RR ab, AMES CREE. WRIA, TORR ICHA RTTIE HY REA r2s(i}Tiangiao is the name of a place in Beijing, In the late Qing Dynasty and the Republic of China, the Tiangiao area was Beijing's largest public recreation center, With a large number of folk artists ngiao performing acrobatics and folk arts there, gradually became synonymous with the urban culture of Beijing’s bottom society. 195746, JO ae eR, 2 ATA WEASFERRT AOE, Mull WAS cb ARE Se AREA BA SM EE. 2004 AE, HERBY T ERIE ASC (RP LA, AACR AAS. A, A Ay OE LR A dB a SCA HLPE, Heh, URES ASCH, RAAT ARB MBC TAB TTF. In 1957, Beijing begun its urban modernization, and the artists no longer gathered there; instead, many of them joined various art organizations and became professional folk art performers. In 2004, China launched a folk culture protection project into which Tiangiao was also incorporated. At present, two cultural institutions, Tiangiao Theatre lg BLA Shanghal’s City God ‘Temple and Happy Tiangiao Teahouse engage in art performance in Tiangiao area, In addition, there is also a folk culture museum to display and demonstrate the folk culture which used to prevail there. FTIR 2b Scr AB ASO RATS, Ee SE ae WiLL. PASAT Mi, PU REASIANER ATA. aR TT AAR EMME, BAER TF HPS SERIA] SCC MIR PAA ies in China have places similar to Beijing's Tiangiao, such s City God Temple, Nanjing’s Confucius Temple, Xi’an’s Many as Shangha Hui Street, ete. These places were often former commercial centers, and have now become the protection and exhibition area of traditional Chinese folk culture MIR A Nanjing’s Confucius Temple “ER ACA KE RT IA” SC HCAPEE FP PRLIBCAY Sy PRBS BR SEAS Se (LAS 2 TT IA aE SALA,“ {BreBok |e B | O7 Pe ae AMP MRASNB, WTAE AE: yi FRAC BESC (LURK IS hOB ATs BSA BESS EAE; MAME AT ee SE ARTE ESCA) 5 PEM ST HP 3 EE BEST RI ER SCHLAB FE 5 OAR, BEAN ARES TA SCAT Cultural centers are non-profit cultural institutions established by the Chinese government with a view to protecting the basic cultural rights and interests of Chinese Be citizens. ‘They are funded by state public finances, and their 963% 1% fe main duties include; providing ordinary people with places Xuanwu Cultural Center for cultural and recreational activities; employing staff to take up art research and artistic cretion; organizing professional artists to guide the masses to develop cultural activities; training the backbone of local literary and artistic workers; hosting seminars for local residents to ‘enhance their cultural refinement; collecting, collating and protecting folk cultural heritages; etc. BARRA, BE ZE, SCACHT. SCH. SO Se HRA SPAR, CAL T BY REE, SPR In accordance with the uniform setup of national cultural institutions, public art centers, cultural centers, cultural stations, and cultural offices make up the 4-level network system of public cultural service. They are generally set up following the administrative sequence as indicated in the table below: FI BUFF Administrative sequence SC{CAL44 Cultural institutions Lab saltbisdlihca PEA CHALE) public art centers provinces, municipalities and prefecture-level cities THER, HARTI city districts, county-level cities, ete, SCL cultural centers PATE, AA BAG city streets, towns, ete. SC{eai4 cultural stations ALR, KASS ALurban communities and rural villages (C4 (SCHEIBV ) cultural offices Fin, BAAS TITLE, KMS AEDES TT LO Ya. eR, FF FREY AMEAE CCAR SCL BESS © HUBS ILABIIZEH:, 2007 HEIR, SIHIE ASCH TZ 3217 1. ‘Nowadays, with the urbanization process in China, more and more people live in high-rise buildings and are in need of mutual communication and exchange, Therefore, it is an important task for cultural ‘centers to promote community culture construction. According to the statistics of China’s Ministry of Culture, there were altogether 3,217 cultural and public art centers as of the end of 2007, vor fi© BAESR se ei ROA [BE Comparison: 4 4—At & BE “AAA” HR SAT DLS AR BEA aS, RCE PRE ATA Des &" MFO, © AFBI, WEL “Ae” HE eA “AR! RAG I", “A” TTA “A”, WHT A “A” RPE, “HS! VEAP RX, WTI. Both mean “very famous”, and can be modified by degree adverbs, Generally, they function as attributives or predicates in sentences. The differences are as follows: while 44% is commonly used in spoken Chinese, #4 is often used in written Chinese, conveying a stronger meaning than 41% . When used as attributives, 41% must be followed by ft, while fis optional after #% . #4 is used for complimentary meaning only; 41% can be either complimentary or derogatory in meaning, BeAEIE— PARAS 0 BRAMALL RRMA REERRA SH. BWM AHRAEN HS HERP HFLHLER, SREB T BE LIHEK RLM © FRR AAA RAHN MSMR, WAAR SR: HDT, JAE M BUST, Re, i ao Pata HTT 3K + It is an auxiliary word which is used after an integer to indicate an approximate number, usually slightly higher or slightly lower than the indicated integer. @O Bia (+, HF) ++ + Bid Number (10, 100, 1000) + 3 + classifier + noun BEAM TAT RR 6 PUPA ABFA BDF BnBoM |e S 1g down China’s Folk Arts. @ wa, Number (1, | REET ORA, MARAT EAR SI MAE 19 We KAMAL DAS ART RAR 5 TU) + Bil (BERRI. S) +3 + 4 Bi 9) + classifier ( measurement word, “* ) +3 + noun/adjective © hominem ARATE + IESE Comparison: 4] #138 BiB abi, BA SED" WEL. EAIWASERHIZE : “lin” BAU TTI BOTT TEA, SONS ETT AAI, BOUIN SED, “BSE FBR, BOL, HC, A, RA" A. “LR” GAINS RR(T, SOR RTT, M0 AIS. ae, HS. ARE” Ho Both words are verbs and means “to create or establish new things”, The main differences between them are as follows: {1X7 emphasizes the initial estat objects tend to be unprecedented abstract things of great significance, such as political partes, states, powers, theories, doctrines, systems, ete, {ififi, by contrast, focuses on practice, and the objects are | generally the result of an action, such as wealth, miracle, history, conditions, and so on. fe] LT Ap aA EI PRP 1921 $4) 264, WHLTMEAP, ETERS EHH. PAR HABER IA 3 Hh HARE OR 38 TE HRA A EER LET HR AH MRR, yment or formation of something, and the © EABRROAALAF AT, DEM NRE, REREAD *T C1) Ae filial, AAMAS MBAR. «+ Itis an adverb, indicating a number being moderate or a degree being not very high. MAE PIL, RB LIK. KARAM, HERB RF EMAC. ARS, ATH RM. ottPOA new Beat ! 44:48; can also refer to the decade. For instance, 20 ttt £4 80 “4:4 refers to the ten years from 1980 to 1989. fiJ€ cannot be thus used. © HR BYNES ERIE TRIE. AER" BEAK IK. HM: JURA, HSER. J can refer to a phase of physiological or educational development, eg. JLZtiN}{% ‘childhood’, 22148 ‘high school years’. 44% cannot be used in this way. BRGIR, HAAA VERA EE 0 HOR LU 80 FAR BH 0 BAMTAFART , MLIEAR @ BALA! BAP AMA BIR ARANETA Aisa BH AE FA BATE ALE A MT AR BR (2) Talks ie), TEGAN), it, RTT “a”. lly: Itis a verb, me “to face (a problem, situation, ete.)”. It can be followed by HSL TNs HAH Ok A, AoE NG A AL MRIL A149 FAG. BUTE LAP ER LAE i 19 LL, © HTT A, WOMB IML LIE IL (1) Be Bhild, Beas “PAARL” IYER, & HAE @b ial TRANE FRx Itisa verb, meaning “to the utmost”. It is commonly used after verbs as a complement. RHALA, ARRAS WAT KULEPH ERR T trike RART HAA, UMAR MBERF (2) 3B. Stil, AUTRE CH FHREND), ANSI. AMINA “C1”. =F It is a classifier used to describe manual skills or abilities, Also used in this manner is [1 . AIS HEM — FHF Ro BERT FT. HOHE — FAN GE. 8 142tik | f@ & 07 Passing down China's Fol © Rae HEAT NER | & [EH Comparison: 3 — Baik | Bi ESI, A AA, AE” ARE, CAPE AEs REE” ASAE TEBE, APA, ea “RRC UTA, SAP A, PLD IB, AEP EB RHR. eh, “LBC” AT DUAAEPRIS TEES, “BE Hi” AE. Both are verbs, meaning “to attach importance to” o “to respect”, Their major differences are as follows: ® 71 mainly indicates attaching importance to people or things. In contrast, it generally implies people treating their superiors with respect. It seldom applies to things. Moreover, 2H can be used before ttles, while 221 can not. BEAR AANA EE, PANVLIE AE Y BRA BE TR GREAT FEERAMR AR, HERALLA GM MAE Be PEIN, RAO ME, KARL! | © H7kest sn, ANMRTE—LeMeHOR MED: lind, 48 CBHANOMET AAI ) (ORE LEGON, TED. HEH + It is an adverb, indicating that something has developed to a higher level compared with the past. It often functions as an adverbial. PURI PR BARA EES PV -FRELG, METH PET PBL, RAGE BRAN —F BEBE HOt @ TORII, BA LAAT BSN BOR : + JA, Bil. EAN ai JE AA Sian) ea AR AR” TE col: JHlisa verb. When framed by the same verbs, adjectives or nouns, it suggests concession, similar to J ‘although’ in meaning, BAIR, TRA A FE. RMA Y, VETERMA. | PEAT ALA WAAL, Ak Ae a EN ke OE FSS] LS 140)oA @ HRewsl, CARATHAe REA ERRNERED Bs Bhi, JP Ashi SR. WR Cis, AACE amNEIB, BEET “IN” FEae “IWS” FHA. SHAG Bif+ It is an auxiliary word used before transitive verbs to form [i +-verb phrases. The phrase as a ‘whole is a nominalization and is often used to modify nouns. When ft) occurs afterward, ff -construction is formed, Its often used in written Chinese. DAREMA EIEIO EAE Toit FPR APE — PROBA, DRM, HOP ACHAT T AME LR HS Q arenes, muni SDI + HHI: PUAN, ANAEMIA Deb RAR ASHES) AAAS, DREAD HED BIA AR ER. Verb + HY / LH + Itis a complement of direction, indicating that the completion of an action changes the state of affairs or people. It is also used to refer to an action that results in the emergence of something from nothing or from a less conspicuous existence. RHRBED A RTE AR ALBA Hh 3k ASFA) 9 ELH? AVILA tht AER Bo RHLERAT EMR T 0 © tiSse meek EA Bhi + BA ANE, ea Phah eA RS AEA eR. ne Bhi Z EMILY “ARSE”. AEM “BEAT BB Saree Verb + Fe « It is a complement of direct ating that an action or state of affairs will continue or develop. The verb in this construction usually can not be followed by objects, but it may bbe modified by 4k2% . Its negative form is WHF PA or ABA FREE AH, TS TAA IRAE TE Ho MAART, RELGKEST » HARAPART AH, HRRABRR ES. BacThis is a group of opera FLEA CVU AR atc) and ‘en to opera but are ML eRe ULeE Bur oa b are every bit Cart ao PRCA espyaa D, Le SC esestig a |B, 2, me eae . 2 tora ad ROR, REKARAL MENT — A HRP AERC RMRBA, Aiwid Thera chet ends) 30S a OAR ARR sh OBA, RAE 5 | Be ants BAD RA Halak, evens 4 HH (von9 xt) R-AK) RATA, SOE eee FRA CA AH TRAE FRB 7 eet MEA, RRT-RGRS BH, 2B Certainty of success AREGARZM, MRAM,FIR | RO Me Ay Me BYR TL, HA A CHAR KF HGR RE ARK A SB, ALAR MABE, WIL ARAEAL EA, MUEWEB AHA, DAKE Ru AAT AR RD, TL LA a ALOE BT UAT LX Hh BD, 2,85 29 UNE Archway of Temple of Earth BAG HUI (dito) AB, FREER MAR SARS BHM, MRM A Fhe KAS ANG BT 2S | @ ih 3 AF 1] HAE, BLAAKHELAPRA—& K, RLAFMREMRRMWA, AM HELENA, MARE, HHRENE AMOERANKRL, —FHRD RR MHRA A, A-F GL — Na fo We BAF A RR A 49 MAM, KRAZGHURBRRARE, E RAARKAERMEAAADA, RANA! WORREA, Ate REKARERHAZ—. KAA 200 F FHAR, APHRAGRB AHR, KA 08 sar Beijing Opera Fans Fei cha [4%] disparity, gap YH rudbin [44] partner, companion HAR potion [sh] to rehearse PUA rete (1) ardent, enthusiastic Be) oth [3h] foencourage REI jlooys [4] ballroom dance S847 kongend [%] diabolo (a kind of spinning toy ‘ona string) JEW xingchéng [3h] to form fir 160 [4%] A tno UE mother (used before — or a monosyllabic verb to stand for 33 9b) A fon [it] Kind, sort HSH inating [4] scene, spectacle Pe {0 gather, o assemble DE vilai [4] since BFL ded [¥E] even if, though EAT) ib ngona [4%] basic skill, essential technique ier z0nghé [3h] {0 synthesize, to integrate HRA tix [4] systemak 39 40 41 2 4B 44 inact BUNA vSnchang [3h] to sing (in a performance) HBC soozn! [1] fine, exquisite, delicate {RSE youmé! [JH] _praceful, elegant KOR ndooud [4 effect, result (usu. positive) AAty rénws (44) Character, figure AMAR aingodn [4%] emotion, feeling BA rhongavo [IE] ‘multitudinous, numerous MAL yonavdu [3h] {0 possess, to own #35 inoving [3H] fo manage, to run BRAT yiiGo [3h] ‘medical treatment Bea snevel [4] equipment, facilities Abe weet (41 foreign investment, foreign capital fel ave ([%] ‘enterprise, company, firm BBE] buen [4%] department, branch, section BB iinof [4%] manager Mba yews [44] professional work or business et: fonmang [FE] busy, bustling. ili chiding (3) {0 formulate, to Work out HA zhongdd [78] significant aL A CBD AR Night scene in Beijing's CBD in Chaoyang District WARERRSLE, RR TRA FSMERUA, SRRMAARR RG ee utcdatentteanas ERMRGRMAM NS $F MABRAEET, ARERERS, AH AEBS WEMAS KOM Ae LHR Rh, MALAAR PAB MRK A RRHTR. HAMM DREKE A, CRAIG FROM MARK, HRA-FBE Bt hs Hy shit Sake, sees ee a1 ew, HHRLA YD Ale FER MB MARE, OFLF Ete, MHRA KWAK LP GAB AE, Ay AIF ELH ATR ETR. HHH PRELIM, HAERABNA Mage HR, HELA, Ase re BAAR BK HH MB, LAA WE AIHA, AMURR , BreSUR | OK # Mei Lanfang Grand Theater RGAE T, KAMAE, RAAB OF Hh, KHAELA—-MR, HACK GR — Apa, EGP HA MRM GH AMIR RBA K, REEL GR, LGR po REAR AH, ELAR, BARRA, RBH BIEL Z IPH AB. ATER, WIA TARY RARE SIGE, AMM aL ot, Wh BIE RAAKALALLEARNRIAH THA, RAW, Hef RMAC AZR A bIET— A} RES R HER, PLEAER, MRAVRT IRS WAGHRA, WIA MAM LITE, RAHA, RYH, TRABH LEP RMKARARR, EDT HR Ae LS SHAMA EAS, RB RBH BK SS Ti AB AK HT I RO KOI, 8 a 8 +40 Beijing Opera Fans AAT, bu dio extremely, exceedingly AK yOvguen [zh] {0 concern about, to have sth, to do with FRIUC sitdng [a] to release, to set free Fife 2xin [3h] to be self-confident JP BE piancudn [44] part, extract, fragment {RAF 8octn [Bh] {0 preserve, to save, to store Se la (ah) io record FLIP howGnweng [4%] Iniernet HE ln [a] {0 establish to set up = a (By) ised between an attributive and the word it modifies ADL shove (4%) Website, homepage bof xindé [1] perception, understanding, usu, Rained from experience DR xin'al [Bh] 10 love, to treasure i shdushi (44) ‘ornament, jewelry BH zheng [jf] Valuable, precious ive [Bil] extremely, most efi) kongHon [4] space Weis shoul [a] tocollect, to gather SUR te (44) costume4a §, saat oe 4g46 itvo [3h] . toplie one's hopes felis ete.) fons, or sth, sz oudro [1] fixed 66 | St rina (Al place, site 97 | pd toiben [3] fo set up and run 68 | SUI terwei [44] atmosphere, ambience 69 | HAL anal (fil) in person, personally 70 | See ztivin [4] bosom friend 71 | 283e zhonoshi [JE] nf foyal, faithful, trustworthy Fy jin with all one’s heart RAEI The opera fans are rehearsing, REORA THAR LIP RERYH— PUL ALS EH Heo ER MY ALA OD BLA Bo ik HF A] R, AE RAT BALRBRFARLRR, BR, HRA CEAMRRA, HARARE, ARR RK S BARA BR 16 Ae, HA A He 8) R38 AA 2B RE ARK AG EE Dh OH ALR RAE AR REL, HH RUMAH AI I0-FAR MHEAE, RABE, HRSRT—-EEH RE, HAASE, HRRMAIN RM KE, HHRMA KARA RAHA, Ai BB RGR A ACH OY A ARAPAR K KEES LHRMARERE WEA MABE, —EERMECREWA, LE KMRERSELRALE OE, AW MMMA, tRBRET MARA KAER, ALE RALL EE RR, PARR IH TA LAR, WHR BOKER LES, ae,BIR | RK QROERHKZE, MEMSNR, H AHKKEH HM, PHRMA AM RAHA Rie o AAD HE ARR HK IRB OK, HARARE AL, ARAN, RRP AREAL RB LAR A HL Ra AE FeO RGD, HARALKMOFAMMERIZE, & BORFA TARK MAA, RAT RAB SS BT”. SEH, WLP AG, Rh HALA RAP AR Fi, WAN AC RAM EAA AE BIL R, MUM ARLAG RELIES, HPEGLMAR, AM LAM AC HAD wR, PRA POORER, 08 Beijing Opera Fans SAENGER TThe opera fans are performing Beijing pera in the park, 73 | BEL méotng [sh] toimitate, to copy 14 | yk, ween [3h] ‘to, unl 75 |) Bi 06 (ah) {o be apart from (in space or time) 16 | Bae kext [J] assiduous, hardworking TT | GREG thzhiet (4) sar or leading member (of a theatrical troupe) 18 | IR-E_L7 chdna adn shang won tens of thousands of ” | WIE shennou [JE] deep, profound, strong 151vOAY YAU ED Saresette “GER EEA RA ER HA” MLL HEME SOARRUIESL, DAP RUNRE AERP, PRIA TCR A. BU. ASS. TAD, SoA Te sEMMT AS MMe SEARLE RS, HAGA, BNET REFER PM CNTR, SLATES, Ve CAPR ALAR AVE APU BEANCAG ARTA) ATUL BEATRICE |G EAL HC AA) MIA Opera is a traditional form of Chinese theatre which uses music and dance as the major means of manifestation while integrating literature, fine arts, martial arts, acrobatics and some other elements. Chinese opera mated fly late, I was not taken shape until the 12th century. During the following several hundred years, it was continuously enriched, innovated and developed, gradually forming a complete set of performance system rich in national characteristics. Stylization (the process and form of acting are highly standardized and fixed) and virtuality (very simple scenes and props, together with actors’ highly symbolized performance which inspire the audience's imagination) are two outstan features in Chinese opera. FL, PRM AAAI s004A, EMEA DAG SP AR ke ATI Fin HERMERLAIT, DLLME, ELA 600% SEARS, ZOOFILIA SCARE POT, "Rs HMRI, SIBLE SWIHATIEIEHE, BE Chan Ope petomers ave changing My “FAR”. SHB, AATHBOICBISS FURL, TSE Uv acl pressions apy IIR ATR, At present, there are about 360 types of Chinese opera which establish their own uw systems on the basis ofthe local dialects and folk music. Among these opera types, the oldest is Kungu Opera, which has a history of more than 600 years to date. In 2001, it was listed on the UNESCO ve tune Intangible Cultural Heritage List. Beijing Opera, the most popular opera form, has enthusiasts across the entire country and is known as the “quintessence of Chinese culture”, Habitually, itis called the iso)\R | 32% 0B Beling Opera Fans national opera, while other opera forms are known as local operas. HUE CHEBEHMEM 2008) NUS, 20074 SFR MeN BIA 191774, Mb A bi84713 Ay SUPA 164, AEA 8471 A. 200846, 471305 ARN AAA aera SCA SCE. According to the statistics of China Statistical Yearbook 2008, there were 1917 opera troupes and 84,713 opera employees in China in 2007. Of all opera troupes, 116 were Beijing Opera troupes, hiring a total of 8,471 people. In 2008, more than 130 types of opera were selected as China's National Intangible Cultural Heritage. “SAM Rh AMAR AG RL, RPA RA pte” THEA ABH “SEDC” ASFA ARIA ARR A I Blo EA PR, ea a”, HED ATA. BARRA, UPR AS A CUTE, ACPI, Ate RTE RE ESL T ALBA. Generally, Chinese people use piaovou, literally ‘ticket friends’, to refer to amateur opera actors ‘oF actresses. They love opera for fun, rather than out of economie considerations. Although they are ‘not professional performers, those high level amateur actors have been guided by master actors and actresses and can perform as well as professionals. Some well-known amateur actors are even higher in performance level than professional actors BU FEM DAE PINEAL, RMS DU 4 PA Ie, EACH HL BAA. WA EA RRC ARE LDA ENS EAR ES PUN SIP 6a ITE TATA HWA REE SE Ae. EAC PH AH DM, TAB RE" HUA ERD OR TEA, fA RMB FRMEMI T RAMUTIIR At the core of the opera community are professional actors, who are surrounded by a large number of amateur actors who in tur have their own fans. Professional actors, amateur actors and fans are closely related to one another. Professional actors often give professional guidance to amateur actors; sometimes professional and amateur actors may perform on the same stage, Opera fans are often potential amateur actors. Some amateur actors may tum professional in the end, which is often referred to as xiahai ‘go into business’. In Chinese modern history, many celebrities were famous amateur actors, and they have made significant contribution to the development of opera, sofOAR, AH Ss ce sf “SAA, tr RA Bp EA AMIS RT HHA) HO LR” AEA AMER IND. HACA, LE ARE MEBHR T. th — Meat, ZEB BEA an de FEAL LIL, LL q PUEDE, DARE, RUM. Bae 4 OF ROE, FLIRT DBA, SEI NG \ PEA ENE. ip Diabolo is a traditional Chinese toy. According to historical record, it appeared as early as in the Song Dynasty. It is generally made of bamboo, with a round ‘box which is dotted with several holes set at one or both ends of a bamboo cylinder. When played with a string, the box revolves quickly and makes a buzzing sound through the holes. Diabolo playing is highly ‘ornamental, Meanwhile, it can also help people keep fit and healthy, Skills are needed to play it well. 18 HEERIN, ZS AER SN eA TRH BIH, ESI MAS Sn 2811 Zoid Bt HA th In the 18th century, diabolo was spread to Europe by French diplomats. Soon, it was very popular among the Europeans. Nowadays, itis played all over the world. (A asm cat “RM AMRSRWARER, RRS KARE RAZ." RRA a EIA Beijing Opera is the main genre of traditional Chinese opera, AAAS ENTE, ZMCMIG ELISA ARETE EAA eA PER, AVR, IL TIL AMOR) A, AeA, RWI FTE A WH RLATE, RAAT I AIAH, Pe AOTCR. LOMA, BURIAL Fl, SR, HRSA AI RIN BIA, BIA A BURURUBLET Be ReathT Bath iF Approximately more than 200 years ago during the middle of the Qing Dynasty, local operas, from areas such as Anhui and Hubei entered Beijing one by one. Because cooperative performances were made, each form had an influence upon others. The styles, acting, and music of other types of BuSNR | 3% 3 0B Beijing Opera Fans opera were also absorbed, and eventually a form of opera that brought together the best of various forms of opera developed. Beijing opera also incorporated the special traits of Beijing, and became ‘what is known as Beijing Opera. This form of opera became popular all over China towards the end of the 19th century, Today, there are Beijing Opera troupes throughout China, which explains why some people refer to Beijing Opera as “Mandarin of all forms of traditional Chinese opera”. SUBIMIRVE GS , BLA 3800 Uh. AL LARS: Be EER, RT URAL REX: FACES AE SL — a I OE AR, Hoh, WMO BE HPs BURIAL IK. $8. ADEE, SUR S ME, AUER WARS ERE, JE "HTB Re ake “WAAC” ADL A 2A RURAL MOR 3} AER, I AR DHEAS 6 ‘There is a long list of Beijing Opera plays. It is said that there can be as many as 3,800. Those ‘currently performed can be divided into three major categories, traditional plays, rewritten historical plays and modern plays, In the course of the development of Beijing Opera, a large number of talented performers have emerged, among whom Mei Lanfang is known worldwide. In Bi ng Opera acting, singing, dancing, music and dialogue are of equal importance, Most movements are highly virtualized; the dialogue is valued for its rhythm and music. Beijing Opera is the most typical of traditional Chinese opera in the integration of chang- nian-zuo-da, i.e, singing, recitation, acting and fighting. Beijing Opera also makes use of facial make-ups to differentiate between good and evil characters, and to show the personalities of various characters. BARNRMERRBLY CEA MRO TL, ACHR RC ALAR YT TRL A SHE, Mel Lanfang, the famous Bejing Opera artist Acta TY — THEY, SUR AS th ea kA TE AEE M— Aw, FERN APB For quite a long time, watching Beijing Opera was a very important part in the cultural life of Chinese people. Beijing Opera has also become a window through which outsiders can understand Chinese culture, It has already had quite a widespread impact abroad. “He A — RIB AT LA MY ap HE eh THe, JOE RTT GE,” SPEAR LINEIIZAR], ON, FRS PASE A, IH Ayerh Ea 135(