Littérature scientifique sur le sujet « National Beijing Opera Theatre of China »
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Articles de revues sur le sujet "National Beijing Opera Theatre of China"
THORPE, ASHLEY. « Transforming Tradition : Performances of Jingju (‘Beijing Opera’) in the UK ». Theatre Research International 36, no 1 (21 décembre 2010) : 33–46. http://dx.doi.org/10.1017/s0307883310000702.
Texte intégralXue, Wang. « Features of the Genre and Style of the Historical and Heroic Opera “Jiang Jie” ». Университетский научный журнал, no 79 (24 avril 2024) : 133–40. http://dx.doi.org/10.25807/22225064_2024_79_133.
Texte intégralDing, Yi. « East and West : “Lear is Hear” directed by Wu Xing Guo ». Культура и искусство, no 2 (février 2020) : 1–9. http://dx.doi.org/10.7256/2454-0625.2020.2.32195.
Texte intégralСЯО, Хуівен. « ЛІРИКО-ПСИХОЛОГІЧНА ДРАМА «ЖАЛЬ ЗА МИНУЛИМ» У ДЗЕРКАЛІ СВОГО ЧАСУ : ЛУ СІНЬ – ШИ ГУАННАНЬ ». Fine Art and Culture Studies, no 1 (4 avril 2023) : 112–21. http://dx.doi.org/10.32782/facs-2023-1-16.
Texte intégralFei, Faye Chunfang, et William Huizhu Sun. « Othello and Beijing Opera : ». TDR/The Drama Review 50, no 1 (mars 2006) : 120–33. http://dx.doi.org/10.1162/dram.2006.50.1.120.
Texte intégralChen, Chen. « Theatre as Memory Site : Cultural Activities, Imaginaries, and Theatrical Things of a Regional Xiqu Theatre in Contemporary China ». Asian Theatre Journal 41, no 1 (mars 2024) : 50–79. http://dx.doi.org/10.1353/atj.2024.a927713.
Texte intégralSchmich, Isabelle, Paul Chervin, Zhu Xiangdong, Yan Xiang et L. Guo‐Qi. « The acoustics of the Beijing National Grand Theatre of China ». Journal of the Acoustical Society of America 123, no 5 (mai 2008) : 3097. http://dx.doi.org/10.1121/1.2932950.
Texte intégralKaidi, Wang. « CULTURAL CONTACTS BETWEEN RUSSIA AND CHINA IN THE FIELD OF MUSIC AND DRAMA THEATER (50s of the XXth century) ». Arts education and science 1, no 2 (2021) : 99–106. http://dx.doi.org/10.36871/hon.202102012.
Texte intégralYan, Yang. « The activities of the Chinese orchestras of the traditional instruments of the new type in the 1960s - 1970s ». Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no 49 (15 septembre 2018) : 198–211. http://dx.doi.org/10.34064/khnum2-49.14.
Texte intégralYan, Yang. « The activities of the Chinese orchestras of the traditional instruments of the new type in the 1960s - 1970s ». Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no 49 (15 septembre 2018) : 198–211. http://dx.doi.org/10.34064/khnum1-49.14.
Texte intégralThèses sur le sujet "National Beijing Opera Theatre of China"
Hay, Trevor Thomas. « China's Proletarian Myth : The Revolutionary Narrative and Model Theatre of the Cultural Revolution ». Thesis, Griffith University, 2000. http://hdl.handle.net/10072/366202.
Texte intégralThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Asian and International Studies
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Livres sur le sujet "National Beijing Opera Theatre of China"
National Beijing Opera Theatre of China. Fesṭival Sin. Tel Aviv : ha-Operah ha-Yiśreʼelit Tel-Aviv-Yafo, 2005.
Trouver le texte intégralChapitres de livres sur le sujet "National Beijing Opera Theatre of China"
Mello, Cecília. « Impurity and Identification ». Dans The Moving Form of Film, 185—C12P63. Oxford University Press, 2023. http://dx.doi.org/10.1093/oso/9780197621707.003.0013.
Texte intégral« Department, Guizhou Normal University. He is a member of the Chinese Musicians’ Association and Director of the Society for Nuo-drama of China. Tsao Penyeh is Senior Lecturer in Ethnomusicology at the Chinese University of Hong Kong. His research interest in Chinese music includes singing-narratives, puppet theatre, and ritual music. Tsao heads the Ritual Music in China Research Programme at the Music Department of the Chinese University of Hong Kong, aiming to systematically investigate Taoist and Buddhist ritual music as well as ritual music of other ethnic nationalities in China. With a team of twenty scholars, the Research Programme is presently conducting a three-year project ‘Comparative Study of Regional and Transregional Taoist Ritual Music Traditions of Major Temples in China, Hong Kong and Taiwan’. Tian Lian-tao is an ethnomusicologist and composer, and professor of the Central Conservatory of Music, Beijing, China. He has conducted extensive research into the traditional music of China’s minority nationalities for more than forty years. Xiu Hailin was born in Shanghai in 1952 and graduated from the department of Musicology at the Central Conservatory of Music in 1983. He is currently the Assistant Professor and Assistant Director of the Institute of Music, Central Conservatory of Music. Tsui Ying is currently an ethnomusicology Ph.D. student in the University of Pittsburgh (Pennsylvania, USA). He received his B.A. in 1987 and his M.Phil. (Chinese music), in 1990 from the Chinese University of Hong Kong. His major field of interest in Chinese instrumental music. In Hong Kong, he has been active as a Chinese flute player as well as a conductor in the modernized Chinese folk orchestras, as well as a Western flute player, for over a decade. His master thesis studied amateur Chinese orchestras in Hong Kong in the seventies with reference to the musical characteristics of the kind of repertoire performed and the social context in which the orchestras emerged. Tsui’s doctoral dissertation is on the issues concerning the traditional Cantonese music ensemble. Ruth Wingyu Yee , a founder of the Shatin Cantonese Opera Troupe, Hong Kong, has for the past ten years been serving on its management committee and performing as a principal actress. She was a solo folksong singer ». Dans Tradition & ; Change Performance, 86. Routledge, 2012. http://dx.doi.org/10.4324/9780203985656-17.
Texte intégralActes de conférences sur le sujet "National Beijing Opera Theatre of China"
SCHMICH, I., C. ROUGIER, Z. XIANGDONG, Y. XIANG et L. GUO-QI. « SUBJECTIVE EVALUATION OF THE BEIJING NATIONAL GRAND THEATRE OF CHINA ». Dans Auditorium Acoustics 2008. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/17497.
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