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”civilized”odetheatrebuildings.
hairandcladintatters,singingtheairsofkunggdagthepartofthe
unterevideheapparentforteristoleratesqueaks
greatchukoliangireetsofoldpeking.
butsohoselvestoit,asthearishave
theesetheatreofthebettertypeinayardliketheelizabethare.
frohesaxophoneandothersounddnessfrohejazzbandany
enatingfrohegongsanddruinlitaryplaysandtheequallynerverag
esetheatresurroundings.
st,oobe
thepoor.deeperthananyotherliteraryart,theoperashavegohehearts
ltsugarsellerssllgongs,theshoutingofn,enandchildrenandthe
havebeenheard,asanybodyyverifyforhielf.thegongsanddruwerealso
fnvisitorsatesetheatresareoftenstruruciatingnoise
inofthedruandgongsandthefalsettolybeuoodinthelightof
aniaina,unknoi
stagediheatrebuilding,thevoluofhusproducedistrulyterrific,
ofthepeople.igineapeopleassesknoireetsandatall
barkingofdogs.abovesuchadin,onlyathinfalsettokeyedinahighpitchuld
...
orlessaloaintraditio
adaptedtheelvestojazz.theyheylifetogeta”kick”outof
abovethegroundiatheopen,orshtacrossathhfare,tobetaken
oddnts,andyouhaveapictureoftherelatiohe
yfireliefthat,
arealfoodof
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esegentlensnervesonend.itispossiblyallaquestionofadaptation.butthe
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falsettooflesingers,.this
or”operania,”aenseeaniafthelohdishevelled
fropurelyliterarypointofvieatiatypeofpoetry
usedasaansofattragattention;theyalheplaysanduldbe
it.tiedand
heardaleaovies.when
actorshadtopetehthepeddlerscries,thebarberstuningforks,the
dodiatelyaftertheoasioheatrehereforeintheopenandthe
instcases,hoph
lovelyasthetaryis,asandtheodddratigs