Hello, My name is Dr. David Brecht.
你好，我的名字是大卫·布莱希特。
But the comparison with Brecht is nevertheless instructive.
不过，与布莱希特的比较仍然给人以启发。
There is an interactive relationship between Bertolt Brecht and Chinese drama.
布莱希特与中国戏剧是一种“双向互动”的关系。
Some 80 percent of Americans say they encounter a speaker of another language regularly, Brecht said.
80%的美国人说他们经常碰到说另一种语言的人。
Berlot Brecht advocated use the new skill performance reality, this gave the Expressionism to be conservative.
布莱希特提倡用新的技巧表现现实，这就给表现主义留有余地。
Some years after the war I came across these lines from Bertolt Brecht: "in the dark times, will there also be singing?"
战后过了几年，我读到了布莱希特的诗句，“在黑暗的时代，还会有人歌唱吗？”
This path took me to many places and caused me to change countries more often than I changed shoes, as Bertolt Brecht used to say.
这条道路把我带到许多地方，就像Bertolt Brecht曾经说过的，更换国家比更换鞋子还要勤。
She was a "good Samaritan" with a "Mother Courage" nature, referencing the Brecht character who believes she can do good in a bad world.
她是一位“乐善好施的好心人”，拥有布莱希特戏剧中坚信能在黑暗世界中行善的“勇气妈妈(Mother Courage)”那样的天性。
This article discusses that Brecht and Mei Lanfang are two great masters of realism, yet each has his own ways and methods of expression.
本文论述了布莱希特与梅兰芳两位现实主义大师，运用的戏剧手段却各有巧妙不同。
Brecht coined the term lehrstuck, or 'lesson play', to describe his didactic approach: his characters learn nothing so that the audience may learn something.
布莱希特创造了“教育剧”(lehrstuck)这一术语，以此来形容他的说教式手法：其剧中角色什么也没弄清，而观众却可能因此有了新的认识。
The second part focus on the similar character of "Verefremdungsefftkt" of Newly-Edited Stories and Bronze Age by the "Verefremdungsefftkt" theory of Brecht.
第二节“陌生化”的幽会：着重运用布莱希特的“陌生化”理论来比较解读《故事新编》和《青铜时代》，指出两者在小说文体上都表现出“陌生化”特征。
Although skakespeare drew from seneca, and brecht from shakespeare, even more immediate was the influence of griffith on ford or ford on bergman or bergman on allen.
虽然莎士比亚是受西涅卡的影响，布莱希特是受莎士比亚的影响，然而格里菲斯对福特的影响， 福特对伯格曼的影响，伯格曼对伍迪阿仑的影响要更为直接。
By using his theory of narrative drama, Brecht was unequivocally opposed to the traditional tragedy of the purification and resonance of thought, but not opposed to the tragic of drama.
布莱希特运用他的叙事戏剧理论旗帜鲜明地反对传统悲剧中的净化与共鸣思想，但并不反对戏剧的悲剧性。
The most fundamental thing in Brecht s theory of drama was his conviction that a certain distance must be maintained between actors and characters, audience and actors, audience and characters.
布莱希特戏剧理论的最基本特征是：主张演员和角色之间、观众和演员之间、观众和角色之间必须保持一定的距离。
The most fundamental thing in Brecht s theory of drama was his conviction that a certain distance must be maintained between actors and characters, audience and actors, audience and characters.
布莱希特戏剧理论的最基本特征是：主张演员和角色之间、观众和演员之间、观众和角色之间必须保持一定的距离。
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