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Theatre/Drama（戏剧）
目录
儿童艺术教育：Theatre/Drama戏剧-目录
Prekindergarten
Kindergarten
Grade One
Grade Two
Grade Three
Grade Four
Grade Five
Grade Six
Grade Seven
Grade Eight
Grades Nine Through Twelve-Proficient
Grades Nine Through Twelve-Advanced
Glossary（A-K）
Glossary（L-Z）
儿童艺术教育：Theatre/Drama戏剧-目录
The academic Curriculum.（Winchester College, Eton College & Harrow School）
Art. Astronomy. Biology. Business Studies. Chemistry. Classics. Critical Thinking. Design Technology. Economics. English. Etiquette. Geography. Government & Politics. History. History of Art. Information Technology. Mathematics. Modern Languages. Music. Music Technology. Philosophy. Physical Education. Physics. Religious Studies, Divinity, Theology. Sports, Games. Statistics. Theatre Studies (Drama). Speech & Drama（语言和戏剧）
Promoting the best habits of independent thought and learning in the pursuit of excellence;
Providing a broadly-based education designed to enable all boys to discover their strengths, and to make the most of their talents within Eton and beyond;
Engendering respect for individuality, difference, the importance of teamwork and the contribution that each boy makes to the life of the school and the community;
Supporting pastoral care that nurtures physical health, emotional maturity and spiritual richness;
Fostering self-confidence, enthusiasm, perseverance, tolerance and integrity.
贵族本质上是一个军事集团。其教育注重培养人格品性、发展领袖才能、文质彬彬尤重体育（Sports）。在实践中，逐步形成以博雅（liberal arts）为核心的教育体系。优雅（Elegant）
The Ivy League is an athletic conference. Liberal arts are trivium—the verbal arts: logic, grammar, and rhetoric; and quadrivium—the numerical arts: mathematics, geometry, music, and astronomy. Analyzing and interpreting information is also studied. Experience in the liberal arts aids in the formation and expression of well-rounded opinions, via critical thinking.
Great Books, History, Languages (SLA), Linguistics, Literature, Mathematics, Music, Philosophy, Political Science, Psychology, Religious studies, Science, Theater
六艺：礼、乐、射、御、书、数
Academic content standards for Visual and Performing Arts in kindergarten through grade twelve, adopted by the California State Board of Education.
Prekindergarten
Kindergarten
Grade One
Grade Two
Grade Three
Grade Four
Grade Five
Grade Six
Grade Seven
Grade Eight
Grades Nine Through Twelve
Proficient
Advanced
Glossary
《冰雪奇缘》（Frozen）
《冰雪奇缘》（Frozen）歌曲（25种语言）- 1
《冰雪奇缘》（Frozen）歌曲（25种语言）- 2
科技-艺术-商业-生活（SLA二语习得）
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Prekindergarten
Prekindergarten
Visual and Performing Arts: Theatre Content Standards.
1.0 ARTISTIC PERCEPTION
Processing, Analyzing, and Responding to Sensory感知 Information Through the Language and Skills Unique to Theatre
Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre, film/video, and electronic media and respond, using the vocabulary词汇 of theatre.
Development of the Vocabulary of Theatre
1.1 Use the vocabulary of theatre, such as pretend假装/扮演, imagination, movement, puppetry木偶, and audience, to describe theatrical experiences.
Comprehension and Analysis of the Elements of Theatre
1.2 Identify characteristic特征 movements and sounds of animate有生命的/动画 and inanimate无生命的 objects.
2.0 CREATIVE EXPRESSION
Creating, Performing, and Participating in Theatre
Students apply processes and skills in acting, directing, designing, and script writing to create formal and informal theatre, film/videos, and electronic media productions and to perform in them.
Development of Theatrical Skills
2.1 Participate参加 in call-and-response games.
Creation/Invention in Theatre
2.2 Engage参加/从事 in fantasy反响/想象 play, recreating situations情景 in familiar settings.
3.0 HISTORICAL AND CULTURAL CONTEXT
Understanding the Historical Contributions and Cultural Dimensions of Theatre
Students analyze the role and development of theatre, film/video, and electronic media in past and present cultures throughout the world, noting diversity多样性/差异 as it relates to theatre.
Role and Cultural Significance意义/重要 of Theatre
3.1 Identify various theatrical experiences, such as live theatre, television, and puppetry木偶. ##手语/Drama戏剧
4.0 AESTHETIC VALUING
Responding to, Analyzing, and Critiquing Theatrical Experiences
Students critique and derive meaning from works of theatre, film/video, electronic media, and theatrical artists on the basis of aesthetic qualities.
Critical Assessment of Theatre
4.1 Respond appropriately适当 as an audience member.
5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS
Connecting and Applying What Is Learned in Theatre, Film/Video, and Electronic Media to Other Art Forms and Subject Areas and to Careers
Students apply what they learn in theatre, film/video, and electronic media across subject areas. They develop competencies and creative skills in problem solving, communication, and time management that contribute to lifelong learning and career skills. They also learn about careers in and related to theatre. 项目管理/Problem Solving
Connections and Applications
5.1 Use body, voice, and imagination to illustrate concepts in other content areas. Use movement and voice, for example, to reinforce vocabulary, such as big, little, loud, and quiet.
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Kindergarten
Kindergarten
Visual and Performing Arts: Theatre Content Standards.
1.0 ARTISTIC PERCEPTION
Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Theatre
Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre, film/video, and electronic media and respond, using the vocabulary of theatre.
Development of the Vocabulary of Theatre
1.1 Use the vocabulary of theatre, such as actor, character, cooperation, setting, the five senses五官感觉, and audience, to describe theatrical experiences.
Comprehension and Analysis of the Elements of Theatre
1.2 Identify differences between real people and imaginary characters.
2.0 CREATIVE EXPRESSION
Creating, Performing, and Participating in Theatre
Students apply processes and skills in acting, directing, designing, and script writing to create formal and informal theatre, film/videos, and electronic media productions and to perform in them.
Development of Theatrical Skills
2.1 Perform imitative movements, rhythmical activities, and theatre games (freeze, statues, and mirrors).
Creation/Invention in Theatre
2.2 Perform group pantomimes and improvisations to retell familiar stories.
2.3 Use costumes and props in role playing.
3.0 HISTORICAL AND CULTURAL CONTEXT
Understanding the Historical Contributions and Cultural Dimensions of Theatre
Students analyze the role and development of theatre, film/video, and electronic media in past and present cultures throughout the world, noting diversity as it relates to theatre.
Role and Cultural Significance of Theatre
3.1 Retell or dramatize stories, myths, fables, and fairy tales from various cultures and times.
3.2 Portray different community members, such as firefighters, family, teachers, and clerks, through role-playing activities.
4.0 AESTHETIC VALUING
Responding to, Analyzing, and Critiquing Theatrical Experiences
Students critique and derive meaning from works of theatre, film/video, electronic media, and theatrical artists on the basis of aesthetic qualities.
Critical Assessment of Theatre
4.1 Respond appropriately to a theatrical experience as an audience member.
Derivation of Meaning from Works of Theatre
4.2 Compare a real story with a fantasy story.
5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS
Connecting and Applying What Is Learned in Theatre, Film/Video, and Electronic Media to Other Art Forms and Subject Areas and to Careers
Students apply what they learn in theatre, film/video, and electronic media across subject areas. They develop competencies and creative skills in problem solving, communication, and time management that contribute to lifelong learning and career skills. They also learn about careers in and related to theatre.
Connections and Applications
5.1 Dramatize information from other content areas. Use movement and voice, for example, to reinforce加强 vocabulary, such as fast, slow, in, on, through, over, under.
Careers and Career-Related Skills
5.2 Demonstrate the ability to participate cooperatively合作 in performing a pantomime哑剧/打手势 or dramatizing a story.##手语/视觉语言
Jeff Bezos' Speech in Princeton
儿童学习与发展指南
Roban 音乐 300
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Grade One
Grade One
Visual and Performing Arts: Theatre Content Standards.
1.0 ARTISTIC PERCEPTION
Processing, Analyzing, and Responding to Sensory感觉 Information Through the Language and Skills Unique to Theatre
Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre, film/video, and electronic media and respond, using the vocabulary of theatre.
Development of the Vocabulary of Theatre
1.1 Use the vocabulary of the theatre, such as play, plot情节 (beginning, middle, and end), improvisation即兴创作, pantomime哑剧/打手势, stage, character角色/性格/品质, and audience, to describe theatrical experiences.##时间点点人物事件起因经过结果
Comprehension and Analysis of the Elements of Theatre
1.2 Observe and describe the traits of a character.
2.0 CREATIVE EXPRESSION
Creating, Performing, and Participating in Theatre
Students apply processes and skills in acting, directing, designing, and script writing to create formal and informal theatre, film/videos, and electronic media productions and to perform in them.
Development of Theatrical Skills
2.1 Demonstrate skills in pantomime哑剧/打手势, tableau戏剧场面/舞台造型, and improvisation即兴创作.
Creation/Invention in Theatre
2.2 Dramatize戏剧化 or improvise临场发挥 familiar simple stories from classroom literature文学 or life experiences, incorporating组成/包含 plot情节 (beginning, middle, and end) and using a tableau戏剧场面/舞台造型 or a pantomime哑剧/打手势.##Body Language
3.0 HISTORICAL AND CULTURAL CONTEXT
Understanding the Historical Contributions and Cultural Dimensions of Theatre
Students analyze the role and development of theatre, film/video, and electronic media in past and present cultures throughout the world, noting diversity as it relates to theatre.
Role and Cultural Significance of Theatre
3.1 Identify the cultural and geographic地理 origins of stories. History of Theatre
3.2 Identify theatrical conventions习俗/会议, such as props小道具, costumes演出服, masks, and sets布景. ## 朱光潜《谈美》
3.3 Describe the roles and responsibilities of audience and actor.
4.0 AESTHETIC VALUING
Responding to, Analyzing, and Critiquing Theatrical Experiences
Students critique and derive meaning from works of theatre, film/video, electronic media, and theatrical artists on the basis of aesthetic qualities.
Critical Assessment of Theatre
4.1 Describe what was liked about a theatrical work or a story.
Derivation of Meaning from Works of Theatre
4.2 Identify and discuss emotional感动 reactions to a theatrical experience.## Resonance/Oscillation/Hypnosis
5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS
Connecting and Applying What Is Learned in Theatre, Film/Video, and Electronic Media to Other Art Forms and Subject Areas and to Careers
Students apply what they learn in theatre, film/video, and electronic media across subject areas. They develop competencies and creative skills in problem solving, communication, and time management that contribute to lifelong learning and career skills. They also learn about careers in and related to theatre.
Connections and Applications
5.1 Apply the theatrical concept of beginning, middle, and end to other content areas. For example, act out the life cycle of a butterfly.
Careers and Career-Related Skills
5.2 Demonstrate the ability to work cooperatively in presenting呈现/表现 a tableau舞台造型, an improvisation即兴创作, or a pantomime哑剧/他收拾.
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Grade Two
Grade Two
Visual and Performing Arts: Theatre Content Standards.
1.0 ARTISTIC PERCEPTION
Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Theatre
Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre, film/video, and electronic media and respond, using the vocabulary of theatre.
Development of the Vocabulary of Theatre
1.1 Use the vocabulary of theatre, such as plot (beginning, middle, and end), scene, sets, conflict, script, and audience, to describe theatrical experiences.
Comprehension and Analysis of the Elements of Theatre
1.2 Use body and voice to improvise alternative endings to a story.
2.0 CREATIVE EXPRESSION
Creating, Performing, and Participating in Theatre
Students apply processes and skills in acting, directing, designing, and script writing to create formal and informal theatre, film/videos, and electronic media productions and to perform in them.
Development of Theatrical Skills
2.1 Perform in group improvisational theatrical games that develop cooperative skills and concentration专心/专注/坚持/自控.
## 导演组讨论
## Inside Room 56
第56号教室 Esquith
## 视觉语言学概要
Sign Language 游顺钊
Creation/Invention in Theatre
2.2 Retell familiar stories, sequencing先后次序 story points and identifying character, setting, and conflict.
2.3 Use improvisation to portray描画 such concepts as friendship, hunger, or seasons季节.
2.4 Create costume戏服 pieces, props, or sets for a theatrical experience.
3.0 HISTORICAL AND CULTURAL CONTEXT
Understanding the Historical Contributions and Cultural Dimensions of Theatre
Students analyze the role and development of theatre, film/video, and electronic media in past and present cultures throughout the world, noting diversity as it relates to theatre.
Role and Cultural Significance of Theatre
3.1 Identify theatre and storytelling forms from different cultures.
History of Theatre
3.2 Identify universal characters in stories and plays from different periods and places.
4.0 AESTHETIC VALUING
Responding to, Analyzing, and Critiquing Theatrical Experiences
Students critique and derive meaning from works of theatre, film/video, electronic media, and theatrical artists on the basis of aesthetic qualities.
Critical Assessment of Theatre
4.1 Critique an actor's performance演出/业绩 as to the use of voice, gesture, facial expression, and movement to create character.
4.2 Respond to a live performance with appropriate audience behavior.
Derivation of Meaning from Works of Theatre
4.3 Identify the message or moral of a work of theatre.
5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS
Connecting and Applying What Is Learned in Theatre, Film/Video, and Electronic Media to Other Art Forms and Subject Areas and to Careers
Students apply what they learn in theatre, film/video, and electronic media across subject areas. They develop competencies and creative skills in problem solving, communication, and time management that contribute to lifelong learning and career skills. They also learn about careers in and related to theatre.
Connections and Applications
5.1 Use problem-solving and cooperative skills in dramatizing a story, a current event, or a concept from another subject area.
Careers and Career-Related Skills
5.2 Demonstrate the ability to participate cooperatively in the different jobs required to create a theatrical production.
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Grade Three
可以插入文本、图片的链接或文本的链接。
Grade Three
Visual and Performing Arts: Theatre Content Standards.
1.0 ARTISTIC PERCEPTION
Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Theatre
Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre, film/video, and electronic media and respond, using the vocabulary of theatre.
Development of the Vocabulary of Theatre
1.1 Use the vocabulary of theatre, such as character, setting, conflict, audience, motivation, props, stage areas, and blocking舞台调度/堵塞, to describe theatrical experiences.
Comprehension and Analysis of the Elements of Theatre
1.2 Identify who, what, where, when, and why (the Five Ws) in a theatrical experience. ## Systems Engineering/科学思维/数学思维
2.0 CREATIVE EXPRESSION
Creating, Performing, and Participating in Theatre
Students apply processes and skills in acting, directing, designing, and script writing to create formal and informal theatre, film/videos, and electronic media productions and to perform in them.
Development of Theatrical Skills
2.1 Participate in cooperative合作 script剧本/脚本/算法/程序 writing or improvisations即兴创作 that incorporate the Five Ws.## HiStory Telling
Creation/Invention in Theatre
2.2 Create for classmates simple scripts that demonstrate knowledge of basic blocking舞台调度/堵塞 and stage areas.
3.0 HISTORICAL AND CULTURAL CONTEXT
Understanding the Historical Contributions and Cultural Dimensions of Theatre
Students analyze the role and development of theatre, film/video, and electronic media in past and present cultures throughout the world, noting diversity as it relates to theatre.
Role and Cultural Significance of Theatre
3.1 Dramatize different cultural versions of similar stories from around the world.
History of Theatre
3.2 Identify universal themes in stories and plays from different periods and places.
4.0 AESTHETIC VALUING
Responding to, Analyzing, and Critiquing Theatrical Experiences
Students critique and derive meaning from works of theatre, film/video, electronic media, and theatrical artists on the basis of aesthetic qualities.
Critical Assessment of Theatre
4.1 Develop and apply appropriate criteria or rubrics for evaluating a theatrical experience.
Derivation of Meaning from Works of Theatre
4.2 Compare the content or message in two different works of theatre.
5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS
Connecting and Applying What Is Learned in Theatre, Film/Video, and Electronic Media to Other Art Forms and Subject Areas and to Careers
Students apply what they learn in theatre, film/video, and electronic media across subject areas. They develop competencies and creative skills in problem solving, communication, and time management that contribute to lifelong learning and career skills. They also learn about careers in and related to theatre.
Connections and Applications
5.1 Use problem-solving and cooperative skills to dramatize a story or a current event from another content area, with emphasis on the Five Ws.##何经华/Socrates/Kant/Polya
Careers and Career-Related Skills
5.2 Develop problem-solving and communication skills by participating collaboratively in theatrical experiences.
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Grade Four
Grade Four
Visual and Performing Arts: Theatre Content Standards.
1.0 ARTISTIC PERCEPTION
Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Theatre
Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre, film/video, and electronic media and respond, using the vocabulary of theatre.
Development of the Vocabulary of Theatre
1.1 Use the vocabulary of theatre, such as plot, conflict, climax, resolution决心, tone, objectives, motivation, and stock characters, to describe theatrical experiences.
Comprehension and Analysis of the Elements of Theatre
1.2 Identify识别 a character's objectives目的 and motivations动机 to explain that character's behavior.
1.3 Demonstrate how voice (diction, pace, and volume) may be used to explore multiple possibilities可能 for a live现场/实况 reading. Examples: I want you to go. I want you to go. I want you to go.
2.0 CREATIVE EXPRESSION
Creating, Performing, and Participating in Theatre
Students apply processes and skills in acting, directing, designing, and script writing to create formal and informal theatre, film/videos, and electronic media productions and to perform in them.
Development of Theatrical Skills
2.1 Demonstrate the emotional traits of a character through gesture and action.
Creation/Invention in Theatre
2.2 Retell or improvise stories from classroom literature in a variety of tones (gossipy饶舌/漫谈, sorrowful悲伤, comic喜剧/连环画, frightened, joyful, sarcastic讽刺).
2.3 Design or create costumes戏服, props道具, makeup化妆, or masks面具 to communicate a character in formal or informal performances.
3.0 HISTORICAL AND CULTURAL CONTEXT
Understanding the Historical Contributions and Cultural Dimensions of Theatre
Students analyze the role and development of theatre, film/video, and electronic media in past and present cultures throughout the world, noting diversity as it relates to theatre.
Role and Cultural Significance of Theatre
3.1 Identify theatrical or storytelling traditions in the cultures of ethnic种族 groups throughout the history of California. ## Drama
History of Theatre
3.2 Recognize key developments in the entertainment industry in California, such as the introduction of silent movies, animation, radio and television broadcasting, and interactive video.
4.0 AESTHETIC VALUING
Responding to, Analyzing, and Critiquing Theatrical Experiences
Students critique and derive meaning from works of theatre, film/video, electronic media, and theatrical artists on the basis of aesthetic qualities.
Critical Assessment of Theatre
4.1 Develop and apply appropriate criteria标准/理由 or rubrics题目/注释 for critiquing performances as to characterization, diction发音/措辞, pacing走动/步态, gesture姿势/手势, and movement.
4.2 Compare and contrast the impact on the audience of theatre, film, television, radio, and other media.
Derivation衍生/导出 of Meaning from Works of Theatre
4.3 Describe students responses to a work of theatre and explain what the scriptwriter did to elicit引出/表达 those responses.
5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS
Connecting and Applying What Is Learned in Theatre, Film/Video, and Electronic Media to Other Art Forms and Subject Areas and to Careers
Students apply what they learn in theatre, film/video, and electronic media across subject areas. They develop competencies and creative skills in problem solving, communication, and time management that contribute to lifelong learning and career skills. They also learn about careers in and related to theatre.
Connections and Applications
5.1 Dramatize events in California history.
5.2 Use improvisation and dramatization to explore concepts in other content areas.
Careers and Career-Related Skills
5.3 Exhibit team identity and commitment to purpose when participating in theatrical experiences.
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Grade Five
Grade Five
Visual and Performing Arts: Theatre Content Standards.
1.0 ARTISTIC PERCEPTION
Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Theatre
Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre, film/video, and electronic media and respond, using the vocabulary of theatre.
Development of the Vocabulary of Theatre
1.1 Use the vocabulary of theatre, such as sense memory, script, cue, monologue, dialogue, protagonist, and antagonist, to describe theatrical experiences.
Comprehension and Analysis of the Elements of Theatre
1.2 Identify the structural elements of plot (exposition展览/概述, complication并发症/混乱, crisis, climax高潮, and resolution决心/决定) in a script or theatrical experience.
2.0 CREATIVE EXPRESSION
Creating, Performing, and Participating in Theatre
Students apply processes and skills in acting, directing, designing, and script writing to create formal and informal theatre, film/videos, and electronic media productions and to perform in them.
Development of Theatrical Skills
2.1 Participate in improvisational即兴 activities to explore complex ideas and universal themes in literature and life.
2.2 Demonstrate the use of blocking舞台调度 (stage areas, levels, and actor's position, such as full front, quarter, profile侧面/半面, and full back) in dramatizations.
Creation/Invention in Theatre
2.3 Collaborate合作 as an actor, director, scriptwriter, or technical artist in creating formal or informal theatrical performances.
3.0 HISTORICAL AND CULTURAL CONTEXT
Understanding the Historical Contributions and Cultural Dimensions of Theatre
Students analyze the role and development of theatre, film/video, and electronic media in past and present cultures throughout the world, noting diversity as it relates to theatre.
Role and Cultural Significance of Theatre
3.1 Select or create appropriate props道具, sets布景, and costumes for a cultural celebration or pageant盛会/露天表演.
3.2 Interpret how theatre and storytelling forms (past and present) of various cultural groups may reflect反映 their beliefs and traditions.
History of Theatre
3.3 Analyze ways in which theatre, television, and film play a part in our daily lives.
3.4 Identify types of early American theatre, such as melodrama and musical theatre.
4.0 AESTHETIC VALUING
Responding to, Analyzing, and Critiquing Theatrical Experiences
Students critique and derive meaning from works of theatre, film/video, electronic media, and theatrical artists on the basis of aesthetic qualities.
Critical Assessment of Theatre
4.1 Develop and apply appropriate criteria for critiquing the work of actors, directors, writers, and technical artists in theatre, film, and video.
Derivation of Meaning from Works of Theatre
4.2 Describe devices actors use to convey meaning or intent in commercials on television.
5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS
Connecting and Applying What Is Learned in Theatre, Film/Video, and Electronic Media to Other Art Forms and Subject Areas and to Careers
Students apply what they learn in theatre, film/video, and electronic media across subject areas. They develop competencies and creative skills in problem solving, communication, and time management that contribute to lifelong learning and career skills. They also learn about careers in and related to theatre.
Connections and Applications
5.1 Use theatrical skills to dramatize events and concepts from other curriculum areas, such as reenacting再扮演 the signing of the Declaration of Independence in history social science.## 场景模拟/再现/Drama/Scenario/Maneuver/DOE
Careers and Career-Related Skills
5.2 Identify the roles and responsibilities of performing and technical artists in theatre, film, television, and electronic media.
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Grade Six
Grade Six
Visual and Performing Arts: Theatre Content Standards.
1.0 ARTISTIC PERCEPTION
Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Theatre
Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre, film/video, and electronic media and respond, using the vocabulary of theatre.
Development of the Vocabulary of Theatre
1.1 Use the vocabulary of theatre, such as action/reaction, vocal projection, subtext, theme, mood, design, production values, and stage crew船员/工作人员, to describe theatrical experiences.
Comprehension and Analysis of the Elements of Theatre
1.2 Identify how production values can manipulate mood to persuade and disseminate 散布/传播propaganda宣传.
2.0 CREATIVE EXPRESSION
Creating, Performing, and Participating in Theatre
Students apply processes and skills in acting, directing, designing, and script writing to create formal and informal theatre, film/videos, and electronic media productions and to perform in them.
Development of Theatrical Skills
2.1 Participate in improvisational activities, demonstrating an understanding of text, subtext潜台词, and context背景/上下文/语境.
Creation/Invention in Theatre
2.2 Use effective vocal expression, gesture, facial expression, and timing to create character.
## The secret to rich is the same as comedy戏剧? Timing.
2.3 Write and perform scenes or one-act plays that include monologue独白/独角戏, dialogue, action, and setting together with a range of character types.
3.0 HISTORICAL AND CULTURAL CONTEXT
Understanding the Historical Contributions and Cultural Dimensions of Theatre
Students analyze the role and development of theatre, film/video, and electronic media in past and present cultures throughout the world, noting diversity as it relates to theatre.
Role and Cultural Significance of Theatre
3.1 Create scripts that reflect particular historical periods or cultures.
History of Theatre
3.2 Differentiate the theatrical traditions of cultures throughout the world, such as those in Ancient Greece, Egypt, China, and West Africa.
4.0 AESTHETIC VALUING
Responding to, Analyzing, and Critiquing Theatrical Experiences
Students critique and derive meaning from works of theatre, film/video, electronic media, and theatrical artists on the basis of aesthetic qualities.
Critical Assessment of Theatre
4.1 Develop and apply appropriate criteria for evaluating sets布景, lighting, costumes戏服, makeup, and props道具 .
Derivation导出/衍生 of Meaning from Works of Theatre
4.2 Identify examples of how theatre, television, and film can influence or be influenced by politics and culture.
5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS
Connecting and Applying What Is Learned in Theatre, Film/Video, and Electronic Media to Other Art Forms and Subject Areas and to Careers
Students apply what they learn in theatre, film/video, and electronic media across subject areas. They develop competencies and creative skills in problem solving, communication, and time management that contribute to lifelong learning and career skills. They also learn about careers in and related to theatre.
Connections and Applications
5.1 Use theatrical skills to communicate concepts or ideas from other curriculum课程 areas, such as a demonstration in history social science of how persuasion and propaganda are used in advertising.
Careers and Career-Related Skills
5.2 Research career opportunities in media, advertising, marketing, and interactive Web design.
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Grade Seven
Grade Seven
Visual and Performing Arts: Theatre Content Standards.
## Kissinger’s ability to ingratiate (讨好)was legendary: he almost always left adversaries believing he agreed with them. With due respect to Kissinger, he is the most devious (狡猾) man I ever met. (Shimon Peres)
1.0 ARTISTIC PERCEPTION
Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Theatre
Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre, film/video, and electronic media and respond, using the vocabulary of theatre.
Development of the Vocabulary of Theatre
1.1 Use the vocabulary of theatre, such as playwright, rehearsal, dress rehearsal, run-through, and cold reading, to describe theatrical experiences.
Comprehension and Analysis of the Elements of Theatre
1.2 Identify dramatic elements within a script, such as foreshadowing, crisis, rising action, catharsis, and denouement, using the vocabulary of theatre.
2.0 CREATIVE EXPRESSION
Creating, Performing, and Participating in Theatre
Students apply processes and skills in acting, directing, designing, and script writing to create formal and informal theatre, film/videos, and electronic media productions and to perform in them.
Development of Theatrical Skills
2.1 Use improvisation即兴创作 in rehearsal排练/演习 to discover character and motivation.## Detect/HiStory telling/Archimedes Law
2.2 Maintain a rehearsal排练/演习 script/ notebook to record directions and blocking舞台调度.
Creation/Invention in Theatre
2.3 Create characters, environments, and actions that exhibit展览/呈现 tension紧张/拉力 and suspense悬念/焦虑.
3.0 HISTORICAL AND CULTURAL CONTEXT
Understanding the Historical Contributions and Cultural Dimensions of Theatre
Students analyze the role and development of theatre, film/video, and electronic media in past and present cultures throughout the world, noting diversity as it relates to theatre.
Role and Cultural Significance of Theatre
3.1 Design and create masks, puppets, props, costumes, or sets in a selected theatrical style drawn from world cultures, such as Javanese印尼 shadow puppets木偶 or Kabuki 日本歌舞伎masks.
History of Theatre
3.2 Compare and contrast various theatre styles throughout history, such as those of Ancient Greece, Elizabethan theatre, Kabuki 日本歌舞伎theatre, Kathakali dance theatre, and commedia dell'arte.
4.0 AESTHETIC VALUING
Responding to, Analyzing, and Critiquing Theatrical Experiences
Students critique and derive meaning from works of theatre, film/video, electronic media, and theatrical artists on the basis of aesthetic qualities.
Critical Assessment of Theatre
4.1 Design and apply appropriate criteria or rubrics for evaluating the effective use of masks, puppetry木偶, makeup, and costumes in a theatrical presentation.
Derivation of Meaning from Works of Theatre
4.2 Explain how cultural influences affect the content or meaning of works of theatre.
5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS
Connecting and Applying What Is Learned in Theatre, Film/Video, and Electronic Media to Other Art Forms and Subject Areas and to Careers
Students apply what they learn in theatre, film/video, and electronic media across subject areas. They develop competencies and creative skills in problem solving, communication, and time management that contribute to lifelong learning and career skills. They also learn about careers in and related to theatre.
Connections and Applications
5.1 Use theatrical skills to communicate concepts or ideas from other curriculum areas, such as creating a musical based on a piece of literature.
Careers and Career-Related Skills
5.2 Demonstrate projection设计/投影, vocal variety, diction发音/措辞, gesture, and confidence in an oral presentation.
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Grade Eight
Grade Eight
Visual and Performing Arts: Theatre Content Standards.
1.0 ARTISTIC PERCEPTION
Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Theatre
Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre, film/video, and electronic media and respond, using the vocabulary of theatre.
Development of the Vocabulary of Theatre
1.1 Use the vocabulary of theatre, such as ensemble, proscenium, thrust, and arena staging, to describe theatrical experiences.
Comprehension and Analysis of the Elements of Theatre
1.2 Identify and analyze recurring themes and patterns (e.g., loyalty, bravery, revenge报仇, redemption救赎) in a script to make production choices in design and direction.
1.3 Analyze the use of figurative比喻/修饰 language and imagery in dramatic戏剧性的/激动 texts.
2.0 CREATIVE EXPRESSION
Creating, Performing, and Participating in Theatre
Students apply processes and skills in acting, directing, designing, and script writing to create formal and informal theatre, film/videos, and electronic media productions and to perform in them.
Development of Theatrical Skills
2.1 Create short dramatizations in selected styles of theatre, such as melodrama, vaudeville, and musical theatre.
Creation/Invention in Theatre
2.2 Perform character-based improvisations, pantomimes哑剧, or monologues独白, using voice, blocking舞台调度, and gesture to enhance加强 meaning.
3.0 HISTORICAL AND CULTURAL CONTEXT
Understanding the Historical Contributions and Cultural Dimensions of Theatre
Students analyze the role and development of theatre, film/video, and electronic media in past and present cultures throughout the world, noting diversity as it relates to theatre.
Role and Cultural Significance of Theatre
3.1 Describe the ways in which American history has been reflected in theatre (e.g., the ways in which the Industrial Revolution and slavery were portrayed描绘 in the minstrel歌手/诗人 show, the melodrama,情节剧/音乐剧/闹剧 and the musical).
History of Theatre
3.2 Identify and explain how technology has changed American theatre (e.g., how stage lighting has progressed from candlelight to gaslight to limelight to electrical light to digital light).
4.0 AESTHETIC VALUING
Responding to, Analyzing, and Critiquing Theatrical Experiences
Students critique and derive meaning from works of theatre, film/video, electronic media, and theatrical artists on the basis of aesthetic qualities.
Critical Assessment of Theatre
4.1 Develop criteria and write a formal review of a theatrical production.
Derivation of Meaning from Works of Theatre
4.2 Compare and contrast how works of theatre from different cultures or time periods convey the same or similar content or plot.
5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS
Connecting and Applying What Is Learned in Theatre, Film/Video, and Electronic Media to Other Art Forms and Subject Areas and to Careers
Students apply what they learn in theatre, film/video, and electronic media across subject areas. They develop competencies and creative skills in problem solving, communication, and time management that contribute to lifelong learning and career skills. They also learn about careers in and related to theatre.
Connections and Applications
5.1 Use theatrical skills to present content or concepts in other subject areas, such as creating a video on cellular mitosis.
Careers and Career-Related Skills
5.2 Identify career options in the dramatic arts, such as cinematographer, stage manager, radio announcer, or dramaturg戏剧编剧; and research the education, training, and work experience necessary in that field.
dramaturg戏剧编剧. A person who provides specific in-depth knowledge and literary resources to a director, producer, theatre company, or even the audience.
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Grades Nine Through Twelve-Proficient
Grades Nine Through Twelve-Proficient
Visual and Performing Arts: Theatre Content Standards.
Note: The proficient level of achievement for students in grades nine through twelve can be attained at the end of one year of high school study within the discipline of Theatre after the student has attained the level of achievement in Theatre required of all students in grade eight.
1.0 ARTISTIC PERCEPTION
Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Theatre
Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre, film/video, and electronic media and respond, using the vocabulary of theatre.
Development of the Vocabulary of Theatre
1.1 Use the vocabulary of theatre, such as acting values, style, genre, design, and theme, to describe theatrical experiences.
Comprehension and Analysis of the Elements of Theatre
1.2 Document observations and perceptions of production elements, noting mood, pacing, and use of space through class discussion and reflective writing.
2.0 CREATIVE EXPRESSION
Creating, Performing, and Participating in Theatre
Students apply processes and skills in acting, directing, designing, and script writing to create formal and informal theatre, film/videos, and electronic media productions and to perform in them.
Development of Theatrical Skills
2.1 Make acting choices, using script analysis, character research, reflection, and revision through the rehearsal process.
Creation/Invention in Theatre
2.2 Write dialogues and scenes, applying basic dramatic structure: exposition, complication, conflict, crises, climax, and resolution决心.
2.3 Design, produce制作/制片, or perform scenes or plays from a variety of theatrical periods and styles, including Shakespearean and contemporary realism现实主义.
3.0 HISTORICAL AND CULTURAL CONTEXT
Understanding the Historical Contributions and Cultural Dimensions of Theatre
Students analyze the role and development of theatre, film/video, and electronic media in past and present cultures throughout the world, noting diversity as it relates to theatre.
Role and Cultural Significance of Theatre
3.1 Identify and compare how film, theatre, television, and electronic media productions influence values and behaviors.
3.2 Describe the ways in which playwrights reflect and influence their culture in such works as Raisin in the Sun, Antigone, and the Mahabarata.
History of Theatre
3.3 Identify key figures, works, and trends in world theatrical history from various cultures and time periods.
4.0 AESTHETIC VALUING
Responding to, Analyzing, and Critiquing Theatrical Experiences
Students critique and derive meaning from works of theatre, film/video, electronic media, and theatrical artists on the basis of aesthetic美学 qualities.
Critical Assessment of Theatre
4.1 Compare a traditional interpretation of a play with a nontraditional interpretation解释 and defend the merits of the different interpretations.
Derivation of Meaning from Works of Theatre
4.2 Report on how a specific actor used drama to convey传递 meaning in his or her performances.
5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS
Connecting and Applying What Is Learned in Theatre, Film/Video, and Electronic Media to Other Art Forms and Subject Areas and to Careers
Students apply what they learn in theatre, film/video, and electronic media across subject areas. They develop competencies and creative skills in problem solving, communication, and time management that contribute to lifelong learning and career skills. They also learn about careers in and related to theatre.
Connections and Applications
5.1 Describe how skills acquired in theatre may be applied to other content areas and careers.
Careers and Career-Related Skills
5.2 Manage time, prioritize responsibilities, and meet completion deadlines for a production as specified by group leaders, team members, or directors.
5.3 Demonstrate an understanding of the professional standards of the actor, director, scriptwriter, and technical artist, such as the requirements for union membership.
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Grades Nine Through Twelve-Advanced
Grades Nine Through Twelve-Advanced
Visual and Performing Arts: Theatre Content Standards.
Note: The proficient level of achievement for students in grades nine through twelve can be attained at the end of one year of high school study within the discipline科目 of Theatre after the student has attained the level of achievement in Theatre required of all students in grade eight.
1.0 ARTISTIC PERCEPTION
Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Theatre
Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre, film/video, and electronic media and respond, using the vocabulary of theatre.
Development of the Vocabulary of Theatre
1.1 Use the vocabulary of theatre, such as genre, style, acting values, theme, and design, to describe theatrical experiences.
Comprehension and Analysis of the Elements of Theatre
1.2 Research, analyze, or serve as the dramaturg戏剧编剧 for a play in collaboration with the director, designer, or playwright.
## dramaturg戏剧编剧. A person who provides specific in-depth knowledge and literary resources to a director, producer, theatre company, or even the audience.
1.3 Identify the use of metaphor隐喻, subtext潜台词, and symbolic象征 elements in scripts 剧本and theatrical productions产品.
2.0 CREATIVE EXPRESSION
Creating, Performing, and Participating in Theatre
Students apply processes and skills in acting, directing, designing, and script writing to create formal and informal theatre, film/videos, and electronic media productions and to perform in them.
Development of Theatrical Skills
2.1 Make acting choices, using script analysis, character research, reflection, and revision to create characters from classical, contemporary, realistic, and nonrealistic dramatic texts.
Creation/Invention in Theatre
2.2 Improvise or write dialogues and scenes, applying basic dramatic structure (exposition, complication, crises, climax, and resolution) and including complex characters with unique dialogue that motivates激发/动机 the action.
2.3 Work collaboratively as designer, producer制片人, or actor to meet directorial goals in scenes and plays from a variety of contemporary and classical playwrights.
3.0 HISTORICAL AND CULTURAL CONTEXT
Understanding the Historical Contributions and Cultural Dimensions of Theatre
Students analyze the role and development of theatre, film/video, and electronic media in past and present cultures throughout the world, noting diversity as it relates to theatre.
Role and Cultural Significance of Theatre
3.1 Research and perform monologues in various historical and cultural contexts, using accurate and consistent physical mannerisms and dialect.
History of Theatre
3.2 Analyze the impact of traditional and nontraditional theatre, film, television, and electronic media on society.
3.3 Perform, design, or direct theatre pieces in specific theatrical styles, including classics by such playwrights as Sophocles, Shakespeare, Lope de Vega, Aphra Behn, Moliere, and Chekhov.## 大师
3.4 Compare and contrast specific styles and forms of world theatre. For example, differentiate between Elizabethan comedy喜剧 and Restoration复辟 farce闹剧.
4.0 AESTHETIC VALUING
Responding to, Analyzing, and Critiquing Theatrical Experiences
Students critique and derive meaning from works of theatre, film/video, electronic media, and theatrical artists on the basis of aesthetic qualities.
Critical Assessment of Theatre
4.1 Use complex evaluation criteria and terminology to compare and contrast a variety of genres of dramatic literature.
4.2 Draw conclusions about the effectiveness of informal and formal productions, films/videos, or electronic media on the basis of intent, structure, and quality of the work.
Derivation of Meaning from Works of Theatre
4.2 Report on how a specific actor used drama to convey meaning in his or her performances.
Derivation of Meaning from Works of Theatre
4.3 Develop a thesis based on research as to why people create theatre.
5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS
Connecting and Applying What Is Learned in Theatre, Film/Video, and Electronic Media to Other Art Forms and Subject Areas and to Careers
Students apply what they learn in theatre, film/video, and electronic media across subject areas. They develop competencies and creative skills in problem solving, communication, and time management that contribute to lifelong learning and career skills. They also learn about careers in and related to theatre.
Connections and Applications
5.1 Create projects in other school courses or places of employment, using tools, techniques, and processes from the study and practice of theatre, film/ video, and electronic media.
Careers and Career-Related Skills
5.2 Demonstrate the ability to create rehearsal schedules, set deadlines, organize priorities, and identify needs and resources when participating in the production of a play or scene.
5.3 Communicate creative, design, and directorial choices to ensemble members, using leadership skills, aesthetic judgment, or problem-solving skills.
5.4 Develop advanced or entry-level competencies for a career in an artistic or technical field in the theatrical arts.
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Glossary（A-K）
Glossary
Visual and Performing Arts: Theatre Content Standards.
acting areas. See center stage, downstage, stage left, stage right, and upstage.
actor. A person, male or female, who performs a role in a play or an entertainment.
actor's position. The orientation of the actor to the audience (e.g., full back, full front, right profile, left profile).
antagonist. A person, a situation, or the protagonist's own inner conflict in opposition to his or her goals.
articulation. The clear and precise pronunciation of words.
blocking. The planning and working out of the movements of actors on stage.
body positions. See actor's position.
catharsis. The purification or purgation of the emotions (as pity and fear) caused in a tragedy.
center stage. The center of the acting area.
character. The personality or part an actor recreates.
characterization. The development and portrayal of a personality through thought, action, dialogue, costuming, and makeup.
climax. The point of highest dramatic tension or a major turning point in the action.
cold reading. A reading of a script done by actors who have not previously reviewed the play.
collaboration. The act of working together in a joint intellectual effort.
commedia dell'arte. A professional form of theatrical improvisation, developed in Italy in the 1500s, featuring stock characters and standardized plots.
complication. See rising action.
conflict. The opposition of persons or forces giving rise to dramatic action in a play.
context. The interrelated conditions in which a play exists or occurs.
conventions of theatre. See theatrical conventions.
costume. Any clothing worn by an actor on stage during a performance.
creative drama. An improvisational, process-centered form of theatre in which participants are guided by a leader to imagine, enact, and reflect on human experiences.
crisis. A decisive point in the plot of a play on which the outcome of the remaining actions depends.
critique. Opinions and comments based on predetermined criteria that may be used for self-evaluation or the evaluation of the actors or the production itself.
cue. A signal, either verbal or physical, that indicates something else, such as a line of dialogue or an entrance, is to happen.
denouement design. The final resolution of the conflict in a plot.
design. The creative process of developing and executing aesthetic or functional designs in a production, such as costumes, lighting, sets, and makeup.
dialogue. The conversation between actors on stage.
diction. The pronunciation of words, the choice of words, and the manner in which a person expresses himself or herself.
directing. The art and technique of bringing the elements of theatre together to make a play.
director. The person who oversees the entire process of staging a production.
downstage. The stage area toward the audience.
dramatic play. Children's creation of scenes when they play pretend.
dramatic structure. The special literary style in which plays are written.
Dramaturg戏剧编剧. A person who provides specific in-depth knowledge and literary resources to a director, producer, theatre company, or even the audience.
dress rehearsals. The final few rehearsals just prior to opening night in which the show is run with full technical elements. Full costumes and makeup are worn.
electronic media. Means of communication characterized by the use of technology (e.g., radio, television, and the Internet).
Elizabethan theatre. The theatre of England during the reign of Queen Elizabeth I and often extended to the close of the theatres in 1640.
ensemble. A group of theatrical artists working together to create a theatrical production.
epic theatre. Theatrical movement of the early 1920s and 1930 characterized by the use of such artificial devices as cartoons, posters, and film sequences distancing the audience from theatrical illusion and allowing focus on the play's message.
exposition. Detailed information revealing the facts of a plot.
farce. A comedy with exaggerated characterizations, abundant physical or visual humor, and, often, an improbable plot.
form. The overall structure or shape of a work that frequently follows an established design. Forms may refer to a literary type (e.g., narrative form, short story form, dramatic form) or to patterns of meter, line, and rhymes (e.g., stanza form, verse form).
formal theatre. Theatre that focuses on public performance in front of an audience and in which the final production is most important.
genre. Literally, kind or type. In literary and dramatic studies, genre refers to the main types of literary form, principally tragedy and comedy. The term can also refer to forms that are more specific to a given historical era, such as the revenge tragedy, or to more specific subgenres of tragedy and comedy, such as the comedy of manners.
gesture. An expressive movement of the body or limbs.
Greek theatre. Theatrical events in honor of the god Dionysus that occurred in Ancient Greece and included play competitions and a chorus of masked actors.
improvisation. A spontaneous style of theatre in which scenes are created without advance rehearsing or scripting.
informal theatre. A theatrical performance that focuses on small presentations, such as one taking place in a classroom setting. Usually, it is not intended for public view.
Kabuki 日本歌舞伎. One of the traditional forms of Japanese theatre, originating in the 1600s and combining stylized acting, costumes, makeup, and musical accompaniment.
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Glossary（L-Z）
level. The height of an actor's head actor as determined by his or her body position (e.g., sitting, lying, standing, or elevated by an artificial means).
makeup. Cosmetics and sometimes hairstyles that an actor wears on stage to emphasize facial features, historical periods, characterizations, and so forth.
masks. Coverings worn over the face or part of the face of an actor to emphasize or neutralize facial characteristics.
melodrama. A dramatic form popular in the 1800s and characterized by an emphasis on plot and physical action (versus characterization), cliff-hanging events, heart-tugging emotional appeals, the celebration of virtue, and a strongly moralistic tone.
mime. An ancient art form based on pantomime in which conventionalized gestures are used to express ideas rather than represent actions; also, a performer of mime.
minstrel show. Musical theatre that usually consisted of performances of traditional African-American music and dance provided by white actors in blackface and characterized by exploitive racial stereotypes.
monologue. A long speech by a single character.
motivation. A character's reason for doing or saying things in a play.
musical theatre. A type of entertainment containing music, songs, and, usually, dance.
Noh. One of the traditional forms of Japanese theatre in which masked male actors use highly stylized dance and poetry to tell stories.
objective. A character's goal or intention.
pacing. The tempo of an entire theatrical performance.
pageant. Any elaborate street presentation or a series of tableaux across a stage.
pantomime. Acting without words through facial expression, gesture, and movement.
pitch. The highness or lowness of the voice.
play. The stage representation of an action or a story; a dramatic composition.
playwright. A person who writes plays.
production values. The critical elements of a production, such as acting, direction, lighting, costuming, sets, and makeup.
projection. The placement and delivery of volume, clarity, and distinctness of voice for communicating to an audience.
props (properties). Items carried on stage by an actor; small items on the set used by the actors.
proscenium. The enlarged hole cut through a wall to allow the audience to view the stage. It is also called the proscenium arch. The archway is in a sense the frame for the action on the stage.
protagonist. The main character of a play and the character with whom the audience identifies most strongly.
puppetry. Almost anything brought to life by human hands to create a performance. Types of puppets include rod, hand, and marionette.
reader's theatre. A performance created by actors reading script rather working from memory.
rehearsal. Practice sessions in which the actors and technicians prepare for public performance through repetition.
rising action. The middle part of a plot consisting of complications and discoveries that create conflict.
run-through. A rehearsal moving from start to finish without stopping for corrections or notes.
script. The written text of a play.
sense memory. Memories of sights, sounds, smells, tastes, and textures. It is used to help define a character in a certain situation.
stage. The area where actors perform.
stage crew. The backstage technical crew responsible for running the show. In small theatre companies the same persons build the set and handle the load-in. Then, during performances, they change the scenery and handle the curtain.
stage manager. The director's liaison backstage during rehearsal and performance. The stage manager is responsible for the running of each performance.
stage left. The left side of the stage from the perspective of an actor facing the audience.
stage right. The right side of the stage from the perspective of an actor facing the audience.
stock characters. Established characters, such as young lovers, neighborhood busybodies, sneaky villains, and overprotective fathers, who are immediately recognizable by an audience.
style. The distinctive and unique manner in which a writer arranges words to achieve particular effects. Style essentially combines the idea to be expressed with the individuality of the author. These arrangements include individual word choices as well as such matters as the length and structure of sentences, tone, and use of irony.
subtext. Information that is implied by a character but not stated by a character in dialogue, including actions and thoughts.
tableau. A silent and motionless depiction of a scene created by actors, often from a picture. The plural is tableaux.
text. The printed words, including dialogue and the stage directions for a script.
theatre. The imitation or representation of life performed for other people; the performance of dramatic literature; drama; the milieu of actors, technicians, and playwrights; the place where dramatic performances take place.
theatre of the absurd. Theatrical movement beginning in the 1950s in which playwrights created works representing the universe as unknowable and humankind's existence as meaningless.
theatrical conventions. The established techniques, practices, and devices unique to theatrical productions.
theatrical experiences. Events, activities, and productions associated with theatre, film/ video, and electronic media.
theatrical games. Noncompetitive games designed to develop acting skills and popularized by Viola Spolin.
upstage. Used as a noun, the stage area away from the audience; used as a verb, to steal the focus of a scene.
vocal projection. See projection.
vocal quality. The characteristics of a voice, such as shrill, nasal, raspy, breathy, booming, and so forth.
volume. The degree of loudness or intensity of a voice.
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| < Day Day Up > |
The Big PictureNow that you have seen what is happening in DB2 "behind the scenes," I will tie all this information together with a single picture. Figure 23.7 depicts all the DB2 components that operate together to achieve an effective and useful relational database management system. Figure 23.7. DB2: The big picture. |
| < Day Day Up > |


This small fishing port lies on the southern tip of Tenerife. One of the last traditional fishing harbours left in Tenerife, fresh fish can be bought daily.
The town surrounds the harbour with supermarkets, pharmacy, banks, shops, medical care, etc. all within walking distance. It is a charming, laid-back town with attractive narrow streets and a private marina.
The harbour is situated next to the nature reserve of “Punta Rasca”, with its beaches and coves, and stands under the watchful eye of Mount Teide, a truly magnificent panorama.
Position 28º 00'N, 16º 39'W.
To approach the marina, sail quite close to the land until the green harbour light on the breakwater is seen. Do not go too far to port as there are rocks. Be aware that there is a ruin on land with a green door which looks like a green navigation mark!

Manouvering in the marina is tight. Whilst the pontoons do not have locked gates, there is 24 hour security patrols.
Last updated March 2013.


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The Spanish–American War was a conflict in 1898 between Spain and the United States, the result of American intervention in the Cuban War of Independence. American attacks on Spain's Pacific possessions led to involvement in the Philippine Revolution and ultimately to the Philippine–American War.[8]
Revolts against Spanish rule had occurred for some years in Cuba. There had been war scares before, as in the Virginius Affair in 1873. In the late 1890s, American public opinion was agitated by anti-Spanish propaganda led by journalists such as Joseph Pulitzer and William Hearst which used yellow journalism to criticize Spanish administration of Cuba. After the mysterious sinking of the American battleship Maine in Havana harbor, political pressures from the Democratic Party and certain industrialists pushed the administration of Republican President William McKinley into a war he had wished to avoid.[9] Compromise was sought by Spain, but rejected by the United States which sent an ultimatum to Spain demanding it surrender control of Cuba. First Madrid, then Washington, formally declared war.[10]
Although the main issue was Cuban independence, the ten-week war was fought in both the Caribbean and the Pacific. American naval power proved decisive, allowing U.S. expeditionary forces to disembark in Cuba against a Spanish garrison already brought to its knees by nationwide Cuban insurgent attacks and further wasted by yellow fever.[11] Numerically superior Cuban, Philippine, and American forces obtained the surrender of Santiago de Cuba and Manila despite the good performance of some Spanish infantry units and fierce fighting for positions such as San Juan Hill.[12] With two obsolete Spanish squadrons sunk in Santiago de Cuba and Manila Bay and a third, more modern fleet recalled home to protect the Spanish coasts, Madrid sued for peace.[13]
The result was the 1898 Treaty of Paris, negotiated on terms favorable to the U.S., which allowed temporary American control of Cuba, and ceded indefinite colonial authority over Puerto Rico, Guam and the Philippine islands[a] from Spain.[15] The defeat and collapse of the Spanish Empire was a profound shock to Spain's national psyche, and provoked a thoroughgoing philosophical and artistic reevaluation of Spanish society known as the Generation of '98.[13] The United States gained several island possessions spanning the globe and a rancorous new debate over the wisdom of expansionism.[16]
The combined problems arising from the Peninsular War (1807-1814), the loss of most of its colonies in the Americas in the early 19th-century Spanish American wars of independence, and three Carlist Wars (1832-1876) effected a new interpretation of Spain's remaining empire.[citation needed] Liberal Spanish élites like Antonio Cánovas del Castillo and Emilio Castelar offered new interpretations of the concept of "empire" to dovetail with Spain's emerging nationalism. Cánovas made clear in an address to the University of Madrid in 1882[17][18] his view of the Spanish nation as based on shared cultural and linguistic elements - on both sides of the Atlantic - that tied Spain's territories together.
As many[quantify] historians have argued in the present and the past, Cánovas saw Spanish imperialism as markedly different in its methods and purposes of colonization from those of rival empires like the British or French. Spaniards regarded the spreading of civilization and Christianity as Spain's major objective and contribution to the New World.[19] The concept of cultural unity bestowed special significance on Cuba, which had been Spanish for almost four hundred years, as an integral part of the Spanish nation. The focus on preserving the empire would have negative consequences for Spain's national pride in the aftermath of the Spanish–American War.
In 1823, U.S. President James Monroe enunciated the Monroe Doctrine, which stated that the United States would not tolerate further efforts by European governments to colonize land or interfere with states in the Americas; however, Spain's colony in Cuba was exempted. Before the Civil War Southern interests attempted to have the U.S. purchase Cuba and make it new slave territory. The proposal failed, and national attention shifted to the Civil War.
The U.S. became interested in a canal either in Nicaragua, or in Panama, where the Panama Canal was built, and realized the need for naval protection. Captain Alfred Thayer Mahan was an especially influential theorist; his ideas were much admired by Theodore Roosevelt, as the U.S. rapidly built a powerful fleet in the 1890s. Roosevelt served as Assistant Secretary of the Navy in 1897–98 and was an aggressive supporter of a war with Spain over Cuba.
Meanwhile the Cuba Libre movement, led by Cuban intellectual José Martí, had established offices in Florida[20] and New York to buy and smuggle weapons. It mounted a large propaganda campaign to generate sympathy that would lead to official pressure on Spain. Protestant churches and Democratic farmers were supportive, but business interests called on Washington to ignore them.[21]
Although Cuba attracted American attention, little note was made of the Philippines, Guam, or Puerto Rico.[22]
Historians see little popular demand for an empire, but note that Britain, France, Germany and Japan had expanded their overseas empires dramatically, in Africa, Asia and the Pacific.[23]
The first serious bid for Cuban independence, the Ten Years War, erupted in 1868 and was subdued by the authorities a decade later. Neither the fighting nor the reforms in the Pact of Zanjón (February 1878) quelled the desire of some revolutionaries for wider autonomy and ultimately independence. One such revolutionary, José Martí, continued to promote Cuban financial and political autonomy in exile. In early 1895, after years of organizing, Martí launched a three-pronged invasion of the island.[24]
The plan called for one group from Santo Domingo led by Máximo Gómez, one group from Costa Rica led by Antonio Maceo Grajales, and another from the United States (preemptively thwarted by U.S. officials in Florida) to land in different places on the island and provoke an uprising. While their call for revolution, the grito de Baíre, was successful, the result was not the grand show of force Martí had expected. With a quick victory effectively lost, the revolutionaries settled in to fight a protracted guerrilla campaign.[24]
Antonio Cánovas del Castillo, the architect of Spain’s Restoration constitution and the prime minister at the time, ordered General Arsenio Martínez-Campos, a distinguished veteran of the war against the previous uprising in Cuba, to quell the revolt. Campos’s reluctance to accept his new assignment and his method of containing the revolt to the province of Oriente earned him criticism in the Spanish press.[25]
The mounting pressure forced Cánovas to replace General Campos with General Valeriano Weyler, a soldier who had experience in quelling rebellions in overseas provinces and the Spanish metropole. Weyler deprived the insurgency of weaponry, supplies, and assistance by ordering the residents of some Cuban districts to move to reconcentration areas near the military headquarters.[25] This strategy was effective in slowing the spread of rebellion. In the United States, this fuelled the fire of anti-Spanish propaganda.[26] In a political speech President William McKinley used this to ram Spanish actions against armed rebels. He even said this "was not civilized warfare" but "extermination".[27][28]


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Boost Statechart 库Configuration 配置 |
The library uses several configuration macros in <boost/config.hpp>,
as well as two configuration macros meant to be supplied by the
application. Moreover, two commonly available compiler options also
have an impact on the available features.
本库使用了 <boost/config.hpp>
中的几个配置宏，以及两个由应用程序提供的配置宏。此外，两个常用的编译器选项也会对可用的特性产生影响。
state_cast<>()
leads to a compile time error (state_downcast<>()
is still available). Moreover, BOOST_STATECHART_USE_NATIVE_RTTI
must not be defined simultaneouslystate_cast<>()
会引发编译期错误 (state_downcast<>()
还可以使用)。此外，BOOST_STATECHART_USE_NATIVE_RTTI
不可同时定义The following macros may be defined by an application using
the library:
以下宏可以由应用程序定义而被本库使用：
| Macro 宏 | Meaning 含义 |
BOOST_STATECHART_USE_NATIVE_RTTI |
When defined, the library no longer
uses its own speed-optimized RTTI implementation. Instead, native C++
RTTI is employed (see RTTI
customization in the performance document for more
information). This has the following effects: 如果被定义，本库不再使用自己的有速度优化的RTTI实现。而是采用原生的 C++ RTTI (更多信息请见"性能"文档中的 RTTI 定制)。它有以下影响：
|
BOOST_STATECHART_RELAX_TRANSITION_CONTEXT |
When defined, the sequence of
actions that are called during a transition is relaxed. That is, its is
no longer necessary that all states up to the innermost common context
are exited before the transition action is called (as mandated by the
UML standard). Instead, the transition action can be a member of either
the transition source or any direct or indirect outer context and is
called as soon as all possibly active inner states have been exited.
Then all remaining active states up to the innermost common context are
exited before entering all states down to the transition destination 如果被定义，则在一次转换中调用各个动作的顺序将是随意的。即，在转换动作被调用之前，不再需要直至最内层公共上下文的所有状态都已退出(UML标准的要 求是严格有序的)。相反，转换动作可以是转换源状态或其任意一个直接或间接的外层上下文的成员函数，一旦所有可能的内层活动状态被退出，就可以调用它。然 后直至最内层公共上下文的所有剩余的活动状态在进入转换目标的所有状态之前被退出 |
Both macros need to be consistently defined or undefined for
all translation units that are later linked into the same executable.
Not doing so will inevitably lead to ODR violations. Depending on
compiler and linker technology such violations may or may not manifest
themselves in link-time errors.
这两个宏必须对要链接到同一个可执行文件中的所有编译单元统一地定义或去定义。如果不这么做，将导致违反ODR。取决于编译器和链接器所采用的技术，这种违反可能会也可能不会表现为链接错误。
Revised 05 January, 2008
Copyright © 2003-2008 Andreas Huber Dönni
Distributed under the Boost Software License, Version 1.0. (See accompanying file LICENSE_1_0.txt or copy at http://www.boost.org/LICENSE_1_0.txt)


The battle over the future of the Internet is a power grab that pits well-heeled lobbyists, corrupt legislators, phony front groups and the world’s most powerful telecommunications companies against the rest of us — the millions of Americans who use the Internet every day, in increasingly inventive ways.
Policymakers are public officials, and it’s their job to serve the public interest. You can play an important role by helping spread the word about Net Neutrality, meeting face to face with elected officials and urging them to protect the open Internet.
You can start by urging the Senate to stand up for Net Neutrality.
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