我不喜欢歌剧用英语怎么说

❶ 八下英语书第三页，1a翻译

斯蒂夫：你好康康，你知道布朗先生怎么了吗？他看上去有点不开心。

康康：他感到失望是因为他没有得到《音乐之声》的票，我想他真的想看。

简：希望下次他能看上这个电影。这也是我最爱的电影。我觉得非常有趣。你觉得呢，玛利亚？

玛利亚：我爱歌剧，我喜欢的剧目是《猫》。它非常搞笑和有趣。康康你喜欢歌剧吗？

康康：不，我一点二也不喜欢，他们（歌剧）非常无聊。但是我父母非常喜欢京剧。
玛利亚：那你最喜欢什么？
康康：电影《阿凡达》，它非常令人兴奋。

❷ 英语翻译汉语

steve：嗨，康康，你知道bromn怎么了吗？他看起来有些不开心
康康：因为没拿到“音乐之声”的门票所以很失望，我想他确实很想去看的
jane：我希望下一次他能看到。音乐之声是我最喜欢的，非常有趣，你怎么看呢？maria
maria:我喜欢戏剧，其中最爱“猫”，这个非常有意思，康康，你喜欢戏剧吗？
康康：不，一点都不喜欢，戏剧很无聊。但是我的爸妈喜欢京剧
maria：那你最喜欢什么？
康康：电影《avatar》非常刺激

希望能帮到楼主。。。可以的话采纳好吗= =

❸ 用享受组句子英语的，enjoy用这个享受

一、 enjoy后接名词或代词。【例如】：They are enjoying their dinner. 他们在津津有味地吃饭。Do you enjoy the film? 你喜欢这部电影吗？Alice doesn't enjoy it. 爱丽斯不喜欢它。二、 enjoy后面可接动词的-ing形式。【例如】：I enjoy listening to light music. 我喜欢听轻音乐。Do you enjoy reading? 你喜欢读书吗？He doesn't enjoy singing. 他不喜欢唱歌。Many students enjoy asking questions in English. 许多学生喜欢用英语问问题。三、 enjoy后面可接反身代词(oneself)，构成固定搭配enjoy oneself，意为“过得愉快、玩得高兴” ，相当于have a good time。【例如】：— Did you enjoy yourself at the party? 你在聚会时玩得高兴吗？— I enjoyed myselfvery much at the party.我在聚会时玩得真开心。1. enjoy后接动词时必须接动词的 -ing形式，不能接动词原形或动词不定式（to do）。【例如】：他喜欢踢足球。[误] He enjoys play football.[误] He enjoys to play football.[正] He enjoys playing football.2. enjoy后只能接表示褒义的词组。【例如】：他母亲身体不健康。[误] His motherenjoys very poor health.[正] His motherdoesn't enjoy good health.

❹ 英语课文翻译成中文

嗨，你好吗？非常好，谢谢。你看起来很兴奋，为什么？
猜猜为什么？我爸爸和妈妈将邀请你的父母去看电影。真的？他们要去看什么电影？
＜音乐之声＞，我父母喜欢的电影之一。他们将会很高兴，他们什么时间去？
这个星期六。我们将在我家渡过夜晚。我妈妈将为我们准备一些美味的食物。
哦，听起来太好了。我太兴奋了，请代我们谢谢你妈妈。
好的，我会的，用我的方式。我看见布朗先生了。他看起来很失望，因为他不能买一张＜音乐之声＞的票。
太遗憾了。
嗨，康康，你知道布朗先生怎么了？他看起来有一点不高兴。他感到失望，因为他不能有一张音乐之声的票。我想他真的想看这个电影。我希望他下次能看这个电影，它也是我喜欢的。我想它是非常有趣的。你认为呢，玛利亚？
我喜欢歌剧，我喜欢歌剧＜猫＞，它是如此令人喜欢和有趣。康康，你喜欢歌剧吗？
不，我一点都不喜欢，它们是无聊的。我父母喜欢京剧。那么你喜欢什么？电影艾薇塔，它是如此令人激动。

❺ 八年级英语下册翻译

S：康康，你好！你知道布朗先生怎么啦？他好像有点不开心。
K：没买到《专音乐之声》的票，他很属失望。我看他真的很想看这部电影。
J：我希望他下次能看到这部电影。这也是我最喜欢的电影。我觉得这部电影很有趣。玛丽亚，你觉得呢？
M：我喜欢看歌剧。我最喜欢的歌剧是《猫》。这部非常好玩。康康，你喜欢歌剧吗？
K：我有点都不喜欢歌剧。我觉得歌剧很无趣啊。但我父母很喜欢看京剧。
M：那你最喜欢什么？
K：我最喜欢电影《阿凡达》了。这部电影非常刺激。

❻ 仁爱英语，初一下册康康迈克尔简玛丽亚讨论放暑假的计划那一棵

Kangkang：嗨！你好吗？
Jane:很好，谢谢。你看起来很兴奋。为什么？
Kangkang：猜猜看！我爸妈想邀请你的父母去看电影。
Maria:真的吗？他们打算看什么电影？
Kangkang：《音乐之声》
Jane:哦，这是我最钟爱的电影之一。他们将要感到高兴，他们什么时候去？
Kangkang：这个星期六。我们可以在我家过夜。我母亲会为我们准备一些美味食品。 Michael: 哇！真是太棒了！我很激动。烦请（替咱）向你妈道声谢吧。
Kangkang：好，我会的。在我来这儿的路上，我看见了布朗先生。他感到失望因为他没能买到一张《音乐之声》的票。
Michael: 多遗憾的事呀！(Page1)
（Page3）
Kangkang：你好，康康，布朗先生怎么啦？他看起来有点不高兴。
Michael:他感到失望，因为他未能买到看《音乐之声》的票。我觉得他真的想去看。 Jane:我希望他下次能看到这部电影。那也是我最喜欢的影片。我觉得它很有趣。你呢，玛利亚？
Maria:我喜欢歌剧。我的最爱是《猫》。它是那么滑稽和有趣。康康，你喜欢歌剧吗？ Kangkang：不，我根本不喜欢。那很乏味。但我父母很喜欢京剧。
Maria: 那么你最喜爱什么？
Kangkang：电影《阿凡达》。它如此令人兴奋。（Page3）

❼ 关于“歌剧”的英语短篇演讲稿，求英语达人出手相助

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.
------------
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.