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时间:2020年01月25日 23:25:51

我的愿望 My Wish -- :3: 来源: Iam a primary school student. And I am the only child in my family. My familiestake too good care of me. They often work too much me. Theree, I hope theycan help me to be independent. I want to do the things by myself. I know theylove me, but I think it’s not so good to me. After all, I have to grow up bymyself.我是一名小学生我是家里唯一的孩子,所以我的家人都过度地关心我了他们常常替我做很多事情,我希望他们能帮助我学会独立我想自己去做一些事情我知道他们这是爱我,但是我认为这对我不太好毕竟,我是要自己成长的

me --19 :: 来源: HI!My name is Tess. I am a girl. l can speak English very  well.I like English very  much. I am thin and tall. I am  ten years old.I am lovely ,too. I look like a big pig.I like my tachers.I like my school.It's big.It's beautiful.It's  clean.There are three buildings in  my school. One is school building .One is dance studio. The other is dormetory.There is a playground, too.We can play on it .I like everything!!!!!

《功夫经典台词 -- 3::58 来源:kekenet lt;十二gt;《功夫英汉经典台词: 1. 还有王法吗?还有法律吗?Is there no justice? Is there no law?. 这是一个社会动荡,黑帮横行的年代,其中又以”斧头帮”最令人闻风丧胆.惟独一些连黑帮也没兴趣的贫困社区却可享有暂时的安宁. In a time of social unrest and disorder, the gangs have moved in to consolidate their power. The most feared of them all is the Axe Gang. Only in the poorest districts, which hold no interest the gangs, can people live in peace. 3. 点解霎时间会没水呢?What happened to the water?. 就算杀了一个我,还有千千万万个我You can kill me, but there’ll be thousands more of me. 5. 单挑啊We’ll go one-on-one.6. 自己人啊We’re on the same side!  7. 我不入地狱,谁入地狱?You cannot escape your destiny!8. 警恶惩奸,维护世界和平这个任务就交给你了The duty of upholding world peace and punishing evil will be yours.9. 有钱给钱,没钱收拾包袱,滚!Pay up or pack up!. 记忆是痛苦的根源,你能不记得算是福气了Memories can be painful. To get may be a blessing.. 问君能有几多愁,恰似一江春水向东流All the sadness one can bearDown the river everywhere.. 一曲肝肠断,天涯何处觅知音A song that wrenches the heartO, where do I find a knowing ear?. 后会有期 Till we meet again.. 天下武功,无坚不破,唯快不破In the world of kungfu, speed defines the winner.. 自古正邪不两立The good cannot coexist with the bad. 经典台词 功夫

小舞台 大角色 -- :: 来源: 小舞台 大角色Small-theater productions may not command headlines, but they m the most artistically daring and commercially vibrant part of Beijing's theater scene, writes Raymond Zhou.The crackdown on wasteful government spending has monkey-wrenched the permance market, causing a to 30 percent shrink in its size as large numbers of government-backed shows face the chopping block. But there is a silver lining to this cloud of austerity. Plays (the spoken kind) have seen a -percent increase in market share as the upward trend continues in the past year. In Beijing, plays added up to 5,000 to 6,000 permances in . Of this number, 3,600 to 3,700 were presented in small theaters. The genre eluded the bust because audience members paid their seats, vis-a-vis singing-and-dancing shows that were disproportionately supported by institutional buyers. Better yet, most of these theatergoers come from the enviable demographic ranging from ages to 0. This is according to the Beijing Small Theater Alliance, which was med in March . When it comes to the perming arts, Beijing is not just another town in China. It is the equivalent of Broadway in the ed States.Outside of Beijing and Shanghai, the production capacity plays is very limited, says Mao Xiubing of Dao Strategy, a consulting firm the culture industry. Some theaters in Wuhan, Hubei province, record an average of 30 shows a year, and Hangzhou in Zhejiang province has an annual total of 600 shows, of which roughly half are touring productions originating in Beijing, he says.Small theater was not found in China until 198 with Absolute Signal, a play written by Gao Xing-jian and directed by Lin Zhaohua. It was produced by the Beijing People's Art Theater, which is a bulwark of traditional aesthetics.Even though these State-owned organizations have built small venues as part of their permance complexes, the bulk of the city's small theaters-or rather, the productions that rent these intimate spaces-belong to private organizations with no government subsidy and little access to funds or grants.In , some 70 to 80 percent of Beijing's plays were presented in small theaters that dot the capital city. (Unlike the Great White Way of New York, they are not concentrated in one district.) But official data is grossly insufficient. There are only privately owned small theaters registered in Beijing and one more in Shanghai, reveals Wang Xiang, creator of Beijing's Nanluoguxiang Theater Festival. This belies the vitality of the sector.Last year's citywide repertory was made up of some 0 to 300 plays, says Fu Weibo, general manager of Pioneer Theater, a venue of the National Theater of China. The Beijing Small Theater Alliance organized a monthlong exhibition program by year-end that showcased plays from companies, with a total of permances and ,000 patrons. Divorce, adapted from a Lao She novel, and Below the Surface of Water, a love story, emerged as the most acclaimed.Lin Kehuan, a renowned stage director, saw plays in the lineup. He praised the passion and innovation of the young people behind these works."When I graduated from the Central Academy of Drama in 1965, I could never imagine Chinese theater would come this far. And likewise, I cannot imagine how far it will go in another 50 years."He sensed a theme running through most of these small productions, such as dashed dreams and aspirations and the conflict between ideals and reality-typical concerns of today's Chinese youth. "What is lacking in all the excitement is a contrast of calming down and meditation," he adds.However, behind the rosy facade lies a big minefield and some mind-boggling paradoxes. example, theater venues across the country have very low occupancy rates, yet because of their State ownership they generally do not operate in accordance to free-market rules. And the capacity is growing each year with a dozen new ultramodern facilities at a cost of some 8 billion yuan, says Mao of Dao Strategy.But a private company that produces a play has to have a healthy run to recoup the cost. "Currently the average run is shows a play, which is not enough, and most productions have to tour several cities to make the money back," Mao says.And if you thought venue operators would bend backward to lure producers, you'd be dead wrong. Last December, a play in Trojan House, a popular venue in an office complex, was staged in frigid cold because it had failed to pay rent.Workers in theater can barely make a living from staging plays. Cui Wenqin, a producer with Ming Theater, says they make money from staging corporate parties even though they've had a string of hit plays. Some have day jobs in the more lucrative television business.Those who have attended festivals in Edinburgh or Avignon cannot stop oozing with envy their Western counterparts who are given generous subsidies from their governments yet face no intervention in artistic decisions.In China, only State-owned companies get such support and lavish grants are available only to white-elephant-type extravaganzas that have no paying audience.Overall, word from the first symposium of small-theater professionals, held in 9 Theater known its rich offerings of small plays, points to a dichotomy between those with projects and those with capital. One complains about insufficient funding and the other about a lack of quality projects. And those responsible marketing and ticket sales are under constant pressures of finding more ticket buyers.If a project is difficult to evaluate bee it meets the audience, a theater's dark days should be easy to calculate. Ideas were floated at the small-theater powwows that aggregate all theaters' dates availability, plus all technical inmation, and make the continuously updated statistics accessible to all producers. That may reduce waste in capacity by matching supply with demand.Another goal is to strive nonprofit status these private entities, which will narrow the gap between State-run and private companies and help level the playing field."A smart government should join hands with artists to fight against over-commercialization of the art m. As it stands, commerce and the lowest m of art have become partners," laments Wang.He could be referring to Mahua FunAge, a show similar to Beach Blanket Babylon, the longest-running musical revue in the ed States. Undoubtedly the biggest hit on the Beijing stage in terms of money-making potential, it has spawned several versions that are now staged simultaneously in four venues across the city. The show, presented in big houses, can be seen as a culmination of Chinese-style comedy clubs. In China, small theater has an inadvertent predecessor in standup and skit comedy, the ms now dominated by Guo Degang and Zhao Benshan. a while, this kind of slapstick comedy flourished in small theaters as a variant of Western-style plays, or ones with Chinese characteristics so to speak. But operators like Wang disdain such "dumbing down" of this theatrical art, which many perceive as experimental and cool."We theater people need to know business and entertainment, but fundamentally we must look into our souls and have our art reflect the society we live in," Wang says. 小舞台 大角色

今天是六一儿童节(Today is Children's Day) --1 :00: 来源: 今天是六一儿童节(Today is Children's Day)  today is children's day.my father takes me to the zoo.there are many kinds of animals,the tigers, the pandas,the lions, the elephants,the giraffes and the bears.  they are different from each other ,some are shy, some are beautiful, some are interesting , some are friendly, some are so cute. but i think these animals are unhappy, they should live in the est,because the life in the zoo are different from that in the est.


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