不过，与布莱希特的比较仍然给人以启发。
哈姆·布莱希特先生热中于“行业中产业规模化”。
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。
Berlot Brecht advocated use the new skill performance reality, this gave the Expressionism to be conservative.
文章论述了佐临“写意戏剧观”的形成与布莱希特戏剧体系的关系。
The article discusses the relationship between the formation of Zuolin's 'Xieyi theatrical Concept' and Brecht's theatrical system.
“陌生化理论”来自于俄国形式主义，是布莱希特戏剧理论的代名词。
"The Alienation theory" came from Russian Formalism, which is the synonym of Brecht's theatre theory.
德国戏剧大师布莱希特在创作中十分注重借鉴吸收中国戏曲艺术的营养成分。
German drama master Brarite intends to make a referential use of the advantages of Chinese drama.
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？”
Some years after the war I came across these lines from Bertolt Brecht: "in the dark times, will there also be singing?"
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。
This article discusses that Brecht and Mei Lanfang are two great masters of realism, yet each has his own ways and methods of expression.
本文认为，布莱希特的陌生化作为戏剧理论包含陌生化效果和陌生化技巧两大基本部分。
The article holds that as a kind of theatre theory, brecht's Alienation Theory includes two parts:alienation effect and alienation technique.
阿尔·布莱希特和他弟弟西奥成立了阿尔迪超市，从一个属于他母亲的街角杂货店开始做起。
Albrecht co-founded Aldi with his younger brother, Theo, starting from a corner grocery store that belonged to his mother.
而且如何看待布莱希特现实主义的表现主义倾向与现实主义之现实观之间的联系也是理论的疑点。
And how to look at the Contacts between Brecht's expressionism and the real concept of his realism theory are also doubts.
哈姆布莱希特先生相信，中国对化工产品需求旺盛，依然会持续很多年，整个亚洲市场的需求也很强烈。
Nevertheless, demand in China is so great that it will be many years before the country becomes a net exporter of chemicals, Mr Hambrecht believes. Demand across Asia is strong.
布莱希特对喜剧及史诗剧场的理论：他的期望及其似是而非之处(他是否真的影响了你对本剧的体会？)
Brecht's Theories of Comedy and of Epic Theater: What are his Expectations, and How Plausible are They (Do his effects actually work, in your experience of the play?)
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。
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.
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。
She was a "good Samaritan" with a "Mother Courage" nature, referencing the Brecht character who believes she can do good in a bad world.
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。
Brecht coined the term lehrstuck, or 'lesson play', to describe his didactic approach: his characters learn nothing so that the audience may learn something.
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。
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.
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。
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。
The second part focus on the similar character of "Verefremdungsefftkt" of Newly-Edited Stories and Bronze Age by the "Verefremdungsefftkt" theory of Brecht.
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