我不喜歡歌劇用英語怎麼說

❶ 八下英語書第三頁，1a翻譯

斯蒂夫：你好康康，你知道布朗先生怎麼了嗎？他看上去有點不開心。

康康：他感到失望是因為他沒有得到《音樂之聲》的票，我想他真的想看。

簡：希望下次他能看上這個電影。這也是我最愛的電影。我覺得非常有趣。你覺得呢，瑪利亞？

瑪利亞：我愛歌劇，我喜歡的劇目是《貓》。它非常搞笑和有趣。康康你喜歡歌劇嗎？

康康：不，我一點二也不喜歡，他們（歌劇）非常無聊。但是我父母非常喜歡京劇。
瑪利亞：那你最喜歡什麼？
康康：電影《阿凡達》，它非常令人興奮。

❷ 英語翻譯漢語

steve：嗨，康康，你知道bromn怎麼了嗎？他看起來有些不開心
康康：因為沒拿到「音樂之聲」的門票所以很失望，我想他確實很想去看的
jane：我希望下一次他能看到。音樂之聲是我最喜歡的，非常有趣，你怎麼看呢？maria
maria:我喜歡戲劇，其中最愛「貓」，這個非常有意思，康康，你喜歡戲劇嗎？
康康：不，一點都不喜歡，戲劇很無聊。但是我的爸媽喜歡京劇
maria：那你最喜歡什麼？
康康：電影《avatar》非常刺激

希望能幫到樓主。。。可以的話採納好嗎= =

❸ 用享受組句子英語的，enjoy用這個享受

一、 enjoy後接名詞或代詞。【例如】：They are enjoying their dinner. 他們在津津有味地吃飯。Do you enjoy the film? 你喜歡這部電影嗎？Alice doesn't enjoy it. 愛麗斯不喜歡它。二、 enjoy後面可接動詞的-ing形式。【例如】：I enjoy listening to light music. 我喜歡聽輕音樂。Do you enjoy reading? 你喜歡讀書嗎？He doesn't enjoy singing. 他不喜歡唱歌。Many students enjoy asking questions in English. 許多學生喜歡用英語問問題。三、 enjoy後面可接反身代詞(oneself)，構成固定搭配enjoy oneself，意為「過得愉快、玩得高興」 ，相當於have a good time。【例如】：— Did you enjoy yourself at the party? 你在聚會時玩得高興嗎？— I enjoyed myselfvery much at the party.我在聚會時玩得真開心。1. enjoy後接動詞時必須接動詞的 -ing形式，不能接動詞原形或動詞不定式（to do）。【例如】：他喜歡踢足球。[誤] He enjoys play football.[誤] He enjoys to play football.[正] He enjoys playing football.2. enjoy後只能接表示褒義的片語。【例如】：他母親身體不健康。[誤] His motherenjoys very poor health.[正] His motherdoesn't enjoy good health.

❹ 英語課文翻譯成中文

嗨，你好嗎？非常好，謝謝。你看起來很興奮，為什麼？
猜猜為什麼？我爸爸和媽媽將邀請你的父母去看電影。真的？他們要去看什麼電影？
＜音樂之聲＞，我父母喜歡的電影之一。他們將會很高興，他們什麼時間去？
這個星期六。我們將在我家渡過夜晚。我媽媽將為我們准備一些美味的食物。
哦，聽起來太好了。我太興奮了，請代我們謝謝你媽媽。
好的，我會的，用我的方式。我看見布朗先生了。他看起來很失望，因為他不能買一張＜音樂之聲＞的票。
太遺憾了。
嗨，康康，你知道布朗先生怎麼了？他看起來有一點不高興。他感到失望，因為他不能有一張音樂之聲的票。我想他真的想看這個電影。我希望他下次能看這個電影，它也是我喜歡的。我想它是非常有趣的。你認為呢，瑪利亞？
我喜歡歌劇，我喜歡歌劇＜貓＞，它是如此令人喜歡和有趣。康康，你喜歡歌劇嗎？
不，我一點都不喜歡，它們是無聊的。我父母喜歡京劇。那麼你喜歡什麼？電影艾薇塔，它是如此令人激動。

❺ 八年級英語下冊翻譯

S：康康，你好！你知道布朗先生怎麼啦？他好像有點不開心。
K：沒買到《專音樂之聲》的票，他很屬失望。我看他真的很想看這部電影。
J：我希望他下次能看到這部電影。這也是我最喜歡的電影。我覺得這部電影很有趣。瑪麗亞，你覺得呢？
M：我喜歡看歌劇。我最喜歡的歌劇是《貓》。這部非常好玩。康康，你喜歡歌劇嗎？
K：我有點都不喜歡歌劇。我覺得歌劇很無趣啊。但我父母很喜歡看京劇。
M：那你最喜歡什麼？
K：我最喜歡電影《阿凡達》了。這部電影非常刺激。

❻ 仁愛英語，初一下冊康康邁克爾簡瑪麗亞討論放暑假的計劃那一棵

Kangkang：嗨！你好嗎？
Jane:很好，謝謝。你看起來很興奮。為什麼？
Kangkang：猜猜看！我爸媽想邀請你的父母去看電影。
Maria:真的嗎？他們打算看什麼電影？
Kangkang：《音樂之聲》
Jane:哦，這是我最鍾愛的電影之一。他們將要感到高興，他們什麼時候去？
Kangkang：這個星期六。我們可以在我家過夜。我母親會為我們准備一些美味食品。 Michael: 哇！真是太棒了！我很激動。煩請（替咱）向你媽道聲謝吧。
Kangkang：好，我會的。在我來這兒的路上，我看見了布朗先生。他感到失望因為他沒能買到一張《音樂之聲》的票。
Michael: 多遺憾的事呀！(Page1)
（Page3）
Kangkang：你好，康康，布朗先生怎麼啦？他看起來有點不高興。
Michael:他感到失望，因為他未能買到看《音樂之聲》的票。我覺得他真的想去看。 Jane:我希望他下次能看到這部電影。那也是我最喜歡的影片。我覺得它很有趣。你呢，瑪利亞？
Maria:我喜歡歌劇。我的最愛是《貓》。它是那麼滑稽和有趣。康康，你喜歡歌劇嗎？ Kangkang：不，我根本不喜歡。那很乏味。但我父母很喜歡京劇。
Maria: 那麼你最喜愛什麼？
Kangkang：電影《阿凡達》。它如此令人興奮。（Page3）

❼ 關於「歌劇」的英語短篇演講稿，求英語達人出手相助

The Chinese opera is a traditional form of stage entertainment, weaving together elements of mime, dance, song, dialogue, swordplay, and acrobatics into one fluid continuous flow. Gestures, movements and expressions incorporated within each performer's script come together to bring forth an impressive performance. In contrast to Western stage entertainment, which is subdivided into different categories such as opera, drama and sketches, Chinese opera has remained faithful to its original format over the centuries.
Although sharing a common ancestry, Chinese opera boasts over 300 various distinct forms - taking their names from their places of origin. These forms are generally discernible by their use of local dialects and distinct 'melodies'. Beijing opera is considered by most to be the most refined. Also widespread are Pingju Opera, Kunqu Opera, Shaoxing Opera, Henan Opera, Sichuan Opera, Shanxi Opera, Huangmei Opera, Huagu Opera and Yangko Opera. Some Chinese ethnic minority groups have some local form of operas.
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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 introce 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 Gorboc (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 introced 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.