英语翻译川剧,是四川文化的一大特色.成都,是戏剧之乡,早在唐代就有“蜀戏冠天下”的说法.（川剧表演画面）在老四川人心中,川剧是一种特别的存在,因为川剧具有巴蜀文化、艺术、历史和

英语翻译川剧,是四川文化的一大特色.成都,是戏剧之乡,早在唐代就有“蜀戏冠天下”的说法.（川剧表演画面）在老四川人心中,川剧是一种特别的存在,因为川剧具有巴蜀文化、艺术、历史和
英语翻译
川剧,是四川文化的一大特色.成都,是戏剧之乡,早在唐代就有“蜀戏冠天下”的说法.（川剧表演画面）在老四川人心中,川剧是一种特别的存在,因为川剧具有巴蜀文化、艺术、历史和民俗等方面的研究和认知价值.（采访部分：川剧是怎样的存在）（川剧表演画面） 台上一分钟,台下十年功,这中间,还有幕后的30分钟.幕后,没有聚光灯,但这里有忙碌,也有从容,有孤独的静默,也有激荡的交流,有杂乱的道具,也有有序的人流.只待一声鼓点响起,大幕拉开,从幕后走向台前,那华丽而优雅的转身,令人无法忘怀.（后台画面：准备）一曲唱罢,出现在演员脸上的,没有疲惫,只有笑容.或许这是他们对川剧深沉的爱（下台画面）.虽然现在画脸谱之前都会先抹上隔离霜和粉底液,但是颜料对皮肤的伤害还是很大的,演员们下台后脱掉沉重的戏服,就必须先卸妆.（卸妆画面）随着中国的经济结构的发展,属于传统体系的生活方式渐渐被新的形式做代替,表现在四川的娱乐层面,就是曾经辉煌的川剧逐渐的少有人问津,演员和观众都走向老龄化.这意味着业内已经缺乏新陈代谢的能力.对于身处这个行业的人来说,面临的就是和现实生存密切相关的“困境”.（采访部分：院长和演员不放弃）他们中的大多数人已经过了重新学习新技能的时机,但是却还是在困难中选择了面对,选择将自己热爱的艺术传承下去.数年来,川剧同其他各种地方戏曲一样出现了生存危机,观众减少,演出市场萎缩,经费不足,传承发展举步维艰,但正是因为这些川剧工作者的不懈努力,川剧才传承到了今天并将继续传承下去.（后台画面 演出画面）现今,川剧再一次活跃在人们的日常生活中.在微博时代,古老的川剧也不甘落后,用多种形式活跃在微博上.川剧与微博的结合,催生出除官方微博外的专门的川剧微博.以微博“川剧票友会”为例,在这个微博上,与川剧有关的各类信息一应俱全,小到一件川剧元素的物品,大到一场川剧演出的“微直播”.“微直播”即是用在微博发图片、文字的方式迅速播报情况,运用到川剧上,就是用从演出现场拍摄的精美图片和解说文字,让网友从微博上就能感受到演出现场.这不仅丰富了人们的日常生活,更促进了川剧的繁荣与发展.（网络图片 ）川剧是中国戏曲宝库中的一颗光彩照人的明珠.而我相信这颗明珠将永远发光.

英语翻译川剧,是四川文化的一大特色.成都,是戏剧之乡,早在唐代就有“蜀戏冠天下”的说法.（川剧表演画面）在老四川人心中,川剧是一种特别的存在,因为川剧具有巴蜀文化、艺术、历史和
Sichuanese opera (Chinese: 川剧; Sichuanese Pinyin: Cuan1ju4; pinyin: Chuānjù) is a type of Chinese operaoriginating in China's Sichuan province around 1700.[1][2] Today's Sichuan opera is a relatively recent synthesis of 5 historic melodic styles. Regionally Chengdu remains to be the main home of Sichuanese opera, while other influential locales include Chongqing, Guizhou, Yunnan, Hubei and Taiwan.[3]
Initially there were 5 distinct opera styles.[4] The history of each style varies greatly.
At least one of the Chinese operatic styles began as early as the Three Kingdoms period with some form of Canjun opera. During the Tang dynasty, a band of five came about in Chengdu. In the Song dynasty, the opera developed intozaju. In the Ming dynasty, artists performed the skill in Jinling (modern-day Nanjing). During the reign ofYongzheng and Qianlong emperor in the Qing dynasty, in the Huabu areas, Kunqu, Yiyang, Bangzi and Pihuang melody merged with local languages, folk customs, ditties, yang-kos and Lantern theatre (Dengdiao) in Sichuan.[3]
During the early 20th century, a revival movement began to reform the art. The best known reformer was Kang Zhilin, who led the Sanqinq (Three Celebrations) Company. This company was one of the most notable opera troupes, established in 1912, and combined the 5 styles into a single opera on the same stage.[3][4] Each style retained its own music. One of the classic skills devised by Kang Zhilin included a high kick that leaves a "third eye" in the middle of the forehead. This has remained one of Sichuanese opera's trademark moves.[4]
During the Cultural Revolution, the art form suffered somewhat. But it continued to flourish afterwards, especially since the 1978 Chinese economic reform.[3]
Performance
Overall the art form is well known for its singing, which is less constrained than that of the more popular Beijing opera form. Sichuan opera is more like a play than other forms of Chinese opera, and the acting is highly polished. The music accompanying Sichuanese opera utilizes a small gong and an instrument called a Muqin, which is similar to the Erhu.[1]
The traditional formula is quite systematic with a combination of stunts like face-changing, tihuiyan, sword-hiding, fire-spitting and beard-changing with the plot and different characters.