太阳系行星发生三星连珠的频率是多少？4星，5星，6星
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英国文艺复兴时期的戏剧
从1485年都铎王朝的建立到1642年的资产阶级革命,是英国的文艺复兴时期.它以恢复在中世纪濒于中断的希腊、罗马文化传统,传播人文主义思想为开端,随着英国社会政治、经济等方面的发展,形成了文化艺术高度繁荣的局面,也出现了英国戏剧史上的第一个高峰.初期都铎王朝的建立,结束了长期的战乱.此后,英国进行了宗教改革,统治集团推行了一系列较为开明的政策.这一时期奇迹剧和道德剧继续流行,但剧中的宗教意义随之减弱,道德剧则带上政治色彩,如J.斯克尔顿（1460～1529）的《壮丽》（1515）、D.林赛（1490～1555）的《笑讽三等人》（1540）等.插剧到16世纪中叶发展到高峰,H.麦得威尔（1462～?）的《弗尔金斯和鲁克利丝》是最早的英国市俗戏剧.最着名的插剧作家是J.黑伍德（1497～1580）,他的《天气戏》（1533）对话颇为风趣.
都铎王朝初期的戏剧形式相当多样化,除上述几种外,发源于意大利的"假面剧"也传入了英国.在下层群众中还流行着哑剧、闹剧、滑稽剧等民间戏剧,莎士比亚的《哈姆雷特》中曾有提及.1558年,伊利莎白女王继承王位,工商业和海外贸易迅速发展,城市兴盛,戏剧日益受到市民欢迎.女王鼓励文艺的发展.这时古希腊罗马戏剧被介绍到英国.在塞内加、泰伦提乌斯、普劳图斯等古典作家的影响下,剧作家创作的正规戏剧产生了,出现了新的戏剧形式--悲剧和喜剧.
N.尤德尔（1505～1556）的《拉尔夫．劳伊斯特．道伊斯特》（1553?）是英国第一部喜剧,作者虽然是模仿罗马喜剧,但剧中好吹牛的骑士拉尔夫在向一位富孀求婚时地败于一位商人之手,这是别有新意的.剧中的一些滑稽情境和风趣对话则取自插剧.最早的英国悲剧《高勃达克》（1561）作者是牛津大学的T.萨克威尔（1536～1608）同T.诺顿（1532～1584）.此剧取材不列颠古代传说,写两个王子因争夺王位互相杀戮而导致内战,风格类似塞内加.
伊利莎白时期,出现了职业的演员剧团,为了取得政治上的庇护,它们名义上还隶属于王室或某一贵族,但演员人身是独立的.1576年英国出现了最早的大众剧场,即演员J.伯比奇（1531～1597）在伦敦近郊建立的"大剧场".它是按照客栈庭院格式建成的露天剧场,没有灯光照明,只能在白天演出.舞台没有惟幕,并伸入观众席中,可以三面看戏.少数贵族观众可坐在舞台上观看演出.道具极少,没有布景,但服装比较讲究.盛期 1588年英国击溃了西班牙"无敌舰队",取得了海上霸权,民族精神空前高涨,戏剧也相应出现高度繁荣的局面.1603年詹姆士一世继位,社会矛盾虽然日益尖锐,但戏剧仍持续发展,直至1616年莎士比亚逝世.这前后30年间,是文艺复兴戏剧的盛期.
1590年前后,职业剧作家J.黎里（1553～1606）、R.格林（1558～1592）、G.皮尔（1557/1558～1596）、C.马洛（1564～1593）等陆续崭露头角.他们曾在牛津或剑桥大学读书,具有人文主义思想,学识渊博,才华横溢,被称为"大学才子".T.基德（1558～1594）虽未受过大学教育,但一般也称他"大学才子".他们主要为大众剧场写作,大大提高了英国戏剧的质量.通过他们的活动,悲剧、喜剧和历史剧都逐渐成熟,散文之外,素体诗（无韵诗）也被熟练地运用于戏剧之中.黎里典雅的台词和优美的抒情插曲,格林流畅的文笔、严整的结构和他笔下可爱的少女形象,皮尔清新的诗意,基德情节的紧张性和人物心理分析,马洛奔放的激情、鲜明的人物性格和探索一切的巨人思想,都为英国戏剧作出了独特的贡献.特别是马洛的成就,为莎士比亚的创作铺平了道路.
莎士比亚（1564～1616）代表了文艺复兴戏剧的最高成就.他的作品几乎涉及当时所有的重大社会问题,集中表现了人文主义思想.他最善于刻画人物、创造典型和展现人的精神世界；他的优秀剧作大都具有紧张复杂的矛盾冲突、生动丰富的情节和富有表现力的细节,他不遵守所谓时间和地点的一致,无论是喜剧、悲剧、历史剧,在他写来都既真实又富于想象,既悲喜交融又充满哲理与诗意,他的戏剧语言丰富准确,极茯性格化.马克思要求戏剧"莎士比亚化",这是对其艺术成就的极高评价.
B.琼森（1573～1637）是这一时期另一位重要作家.他的一些作品致力于表现人物的"气质",从道德方面进行评价.有较强的现实主义因素.他遵守"三一律",讲究结构,如《炼金术士》（1610）即以结构完美见称.
这一时期历史剧最早出现优秀作品不是偶然的.中世纪奇迹剧的题材是宗教传说中的人类历史.文艺复兴时期,民族意识加强,爱国主义精神高涨,女王继承人问题又引起普遍关注,这就使一些剧作家以浓厚的兴趣探讨历史,作为现实的借鉴.马洛的《爱德华二世》（1593?）是一部历史剧杰作.莎士比亚早期的英国历史剧则深入探讨了都铎王朝建立前400年的英国社会政治问题,反映了人文主义者要求开明君主的政治理想,可以说是戏剧化的民族史诗.
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喜剧作品大量出现,而且风格多样化,如黎里的《月中女人》（1584）、格林的《僧人培根和僧人班格》（1589）、莎士比亚的《仲夏夜之梦》（1596）和《第十二夜》（1600）、T.德克（1572～1632）的《鞋匠的节日》（1600）都具有浪漫色彩和明朗、乐观的基调.这一时期也出现了一些描绘当代世态人情、以中产阶级为讽刺对象的喜剧,B.琼森的《炼金术士》（1610）及《巴托罗缪集市》（1614）,被称为市民喜剧.
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悲剧
这30年间悲剧蔚为大观,按题材可分为几类：一类是"复仇悲剧",以复仇为主线,如基德的《西班牙的悲剧》、莎士比亚的《哈姆雷特》、C.图尔纳（1575?～1626）的《复仇者的悲剧》（1607）、J.韦伯斯特（1580～1625）的《马尔菲的公爵夫人》（1613?）等.这类悲剧的出现反映了塞内加复仇剧的影响,也反映了社会的动荡和人们渴求正义的普遍心理.《哈姆雷特》大大突破了复仇悲剧的局限,表达了人文主义的理想和时代的精神.另一类是所谓"情欲悲剧",如马洛的《浮士德博士的悲剧》（1588?）、《帖木儿大帝》（1588?）,莎士比亚的《安东尼和克利奥佩特拉》（1606）、《科利奥兰纳斯》（1601）,琼森的《西亚努斯的覆灭》（1603）,查普曼的《布西．德．昂布瓦的复仇》（1610）等."情欲悲剧"反映了当时流行的认为人的气质欲望决定命运的观点.同"情欲悲剧"常常结合着的是所谓"恶行悲剧",莎士比亚的《奥赛罗》（1604）、《李尔王》（1606）、《麦克白》（1606）是两者结合的范例.它们深刻地揭露了野心家的罪恶,也揭露了嫉妒、自负、邪恶所带来的灾难.值得注意的是,除上述传统地表现贵族生活的悲剧外,还出现了一些反映中产阶级生活的悲剧,如无名氏的《费弗夏姆的阿登》（1592）和《约克郡悲剧》（1605）以及T.黑伍德的家庭爱情悲剧《死于仁慈的女人》（1603）.
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17世纪初,出现了一种既不属于传统悲剧也不属于传统喜剧的传奇剧.在它的情节发展中有悲剧性高潮,但也有喜剧结局,故被称为悲喜剧,又称传奇剧.F.鲍蒙特（1584/1585～1616）和J.弗莱契（1579～1625）的《菲拉斯特》（1609?）、《是国王又不是国王》（1611）,莎士比亚的《辛白林》（1609）、《冬天的故事》（1610）、《暴风雨》（1611）都属传奇剧.莎士比亚晚年的这类作品回避了尖锐的社会矛盾,以宽恕与和解为主题,不过仍然反映了人文主义理想的光辉.其他作家的传奇剧大都缺乏生活基础,内容较为贫乏,已预示着英国文艺复兴戏剧的结束.
剧场艺术方面,这一时期两个最重要的剧团是宫廷大臣供奉剧团和以着名悲剧演员E.艾伦（1566～1626）为经理的海军大臣供奉剧团.艾伦主要扮演马洛笔下的人物,他的主要竞争对手J.伯比奇则以扮演莎士比亚和琼森的剧中人见称.最着名的喜剧演员是W.坎普（?～1603）.17世纪初,伦敦已有近20所大众剧场,如玫瑰剧场、帷幕剧场、天鹅剧场以及大剧场移建成的考试吧剧场等.剧场经理一般由演员兼任,雇佣过不少剧作家.1596年伦敦出现了第一座私人剧场,即J.伯比奇建立的黑衣修士剧场.私人剧场供上层人士观剧,有红光照明,舞台道具也较大众剧场齐全.当时还没有女演员,女角由童伶担任.
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末期
莎士比亚逝世后,文艺复兴戏剧进入尾声.
詹姆士一世及其继位者查理一世政治上的观点,生活上究奢极欲,戏剧成了统治阶级消遣娱乐的工具,一些剧作家主要为宫廷写作并且受到了正风行于欧洲的巴洛克风格的影响,大众剧场时代的那种生气勃勃的创造精神消失了.
比较重要的剧作家有P.马辛杰（1583～1640）、J.福德（1586～1640）、J.雪利（1596～1666）等人,他们用流畅的素体诗写作,但已失去了马洛和莎士比亚那样壮阔的气势和生动的表现力.福德的悲剧描写失望和堕落.渲染恐怖与苦难,但讲求技巧,表现人物感情细腻.喜剧的成就大于悲剧.马辛杰继承了琼森"气质喜剧"的传统,讽刺了正在得势的中产阶级.雪利描写家庭生活,开风俗喜剧的先河,其中有一些色情描写.1642年斯图亚特王朝被推翻,代表新禁欲主义的清教徒本来就反对戏剧,而戏剧中恐怖和色情的增多更使他们不满.克伦威尔执政后下令封闭伦敦全部剧场,文艺复兴戏剧就此结束.
传奇剧
喜剧
喜剧作品大量出现,而且风格多样化,如黎里的《月中女人》（1584）、格林的《僧人培根和僧人班格》（1589）、莎士比亚的《仲夏夜之梦》（1596）和《第十二夜》（1600）、T.德克（1572～1632）的《鞋匠的节日》（1600）都具有浪漫色彩和明朗、乐观的基调.这一时期也出现了一些描绘当代世态人情、以中产阶级为讽刺对象的喜剧,B.琼森的《炼金术士》（1610）及《巴托罗缪集市》（1614）,被称为市民喜剧.
类似问题
类似问题1：人文主义思想在英国文艺复兴时期的戏剧中是怎样表现的[历史科目]
莎士比亚的《哈姆雷特》.哈姆雷特是悲剧的中心人物.他是一个典型的人文主义者.人文主义思想是文艺复兴时期文学的核心,它体现了新兴资产阶级的世界观,是资产阶级与封建贵族、教会进行斗争的武器.人文主义者反对以神为中心的封建神学,宣传人是宇宙的主宰,是万物之本.哈姆雷特对世界和人类抱有巨大的热情和美好的希望.他说：“人是多么了不起的一件物品!理性是多么高贵!力量是多么无穷!行动多么像天使!了解多么像天神!宇宙的精华!万物的灵长!”他肯定人的现实生活,渴望纯洁的友情和真挚的爱情.他聪明热情、敏感善思、能文能武.他的恋人峨菲利亚说：“啊,一颗多么高贵的心就是这样陨落了!”
类似问题2：文艺复兴时期英国戏剧特点 用英文介绍[英语科目]
English Renaissance drama grew out of the established Medieval tradition of the mystery and morality plays (see Medieval English Drama). These public spectacles focused on religious subjects and were generally enacted by either choristers and monks, or a town's tradesmen (as later seen lovingly memorialized by Shakespeare's 'mechanicals' in A Midsummer Night's Dream).
At the end of the fifteenth century, a new type of play appeared. These short plays and revels were performed at noble households and at court, especially at holiday times. These short entertainments, called "Interludes", started the move away from the didactic nature of the earlier plays toward purely secular plays, and often added more comedy than was present in the medieval predecessors. Since most of these holiday revels were not documented and play texts have disappeared and been destroyed, the actual dating of the transition is difficult. The first extant purely secular play, Henry Medwall's Fulgens and Lucres, was performed at the household of Cardinal Morton, where the young Thomas More was serving as a page. Early Tudor interludes soon grew more elaborate, incorporating music and dance, and some, especially those by John Heywood, were heavily influenced by French farce.
Not only were plays shifting emphasis from teaching to entertaining, they were also slowly changing focus from the religious towards the political. John Skelton's Magnyfycence (1515), for example, while on the face of it resembling the medieval allegory plays with its characters of Virtues and Vices, was a political satire against Cardinal Wolsey. Magnyfycence was so incendiary that Skelton had to move into the sanctuary of Westminster to escape the wrath of Wolsey.
The first history plays were written in the 1530's, the most notable of which was John Bale's King Johan. While it considered matters of morality and religion, these were handled in the light of the Reformation. These plays set the precedent of presenting history in the dramatic medium and laid the foundation for what would later be elevated by Marlowe and Shakespeare into the English History Play, or Chronicle Play, in the latter part of the century.
Not only was the Reformation taking hold in England, but the winds of Classical Humanism were sweeping in from the Continent. Interest grew in the classics and the plays of classical antiquity, especially in the universities. Latin texts were being "Englysshed" and latin poetry and plays began to be adapted into English plays. In 1553, a schoolmaster named Nicholas Udall wrote an English comedy titled "Ralph Roister Doister" based on the traditional Latin comedies of Plautus and Terence. The play was the first to introduce the Latin character type miles gloriosus ("braggart soldier") into English plays, honed to perfection later by Shakespeare in the character of Falstaff. Around the same time at Cambridge, the comedy "Gammer Gurton's Needle", possibly by William Stevens of Christ's College, was amusing the students. It paid closer attention to the structure of the Latin plays and was the first to adopt the five-act division.
Writers were also developing English tragedies for the first time, influenced by Greek and Latin writers. Among the first forays into English tragedy were Richard Edwards' Damon and Pythias (1564) and John Pickering's New Interlude of Vice Containing the History of Horestes (1567). The most influential writer of classical tragedies, however, was the Roman playwright Seneca, whose works were translated into English by Jasper Heywood, son of playwright John Heywood, in 1589. Seneca's plays incorporated rhetorical speeches, blood and violence, and often ghosts; components which were to figure prominently in both Elizabethan and Jacobean drama.
The first prominent English tragedy in the Senecan mould was Gorboduc (1561), written by two lawyers, Thomas Sackville and Thomas Norton, at the Inns of Court (schools of law). The play is also important as the first English play in blank verse. Blank verse, non-rhyming lines in iambic pentameter, was introduced into English literature by sonneteers Wyatt and Surrey in the 1530's. Its use in a work of dramatic literature paved the way for "Marlowe's mighty line" and the exquisite poetry of Shakespeare's dramatic verse. With a new ruler on the throne, Queen Elizabeth I, who enjoyed and encouraged the theatrical arts, the stage was set for the body of dramatic literature we today call Elizabethan Drama.
类似问题3：关于英国文艺复兴时期的.关于英国文艺复兴时期的服饰,文化,经济特点以及这一时期的电影和戏剧作品,和画作,文学作品,名人.那个,我是在找做课件的资料,不是英语翻译呀~最好是有英国文艺[英语科目]
你要的资料太多,所以就不翻译了,给你英文版的就好了：
The English Renaissance was a cultural and artistic movement in England dating from the early 16th century to the early 17th century.It is associated with the pan-European Renaissance that many cultural historians believe originated in northern Italy in the fourteenth century.This era in English cultural history is sometimes referred to as "the age of Shakespeare" or "the Elizabethan era," taking the name of the English Renaissance's most famous author and most important monarch,respectively; however it is worth remembering that these names are rather misleading:Shakespeare was not an especially famous writer in his own time,and the English Renaissance covers a period both before and after Elizabeth's reign.
Poets such as Edmund Spencer and John Milton produced works that demonstrated an increased interest in understanding English Christian beliefs,such as the allegorical representation of the Tudor Dynasty in The Faerie Queen and the retelling of mankind’s fall from paradise in Paradise Lost; playwrights,such as Christopher Marlowe and William Shakespeare,composed theatrical representations of the English take on life,death,and history.Nearing the end of the Tudor Dynasty,philosophers like Sir Thomas More and Sir Francis Bacon published their own ideas about humanity and the aspects of a perfect society,pushing the limits of metacognition at that time.As England abolished its astrologers and alchemists,it came closer to reaching modern science with the Baconian Method,a forerunner of the Scientific Method.
The key literary figures in the English Renaissance are now generally considered to be the poet Edmund Spenser; the philosopher Francis Bacon; the poets and playwrights Christopher Marlowe,William Shakespeare and Ben Jonson; and the poet John Milton.Sir Thomas More is often considered one of the earliest writers of the English Renaissance.Thomas Tallis,Thomas Morley,and William Byrd were the most notable English musicians of the time,and are often seen as being a part of the same artistic movement that inspired the above authors.Elizabeth herself,a product of Renaissance humanism trained by Roger Ascham,wrote occasional poems like On Monsieur’s Departure at critical moments of her life.
你意思是说图片之类的么?如果说要服装史,说实在,专门查书是可以,但也是英文,而且我也不可能一个字一个字那样打的啊……如果只是当时服装的一些图片,还可能找到些.
类似问题4：英国文艺复兴史上最伟大的戏剧家是谁[历史科目]
哥伦比亚1
类似问题5：谁是文艺复兴时期英国和欧洲最伟大的戏曲家 代表作《威尼斯商人》
莎士比亚是文艺复兴时期英国和欧洲最伟大的戏曲家 代表作《威尼斯商人》