Fable story drama English version 3 people

1. Urgent: Help me write an English dialogue drama of the fable "The Crow Drinks Water"

-You write Chinese, I will translate English for you, and I will add Q

2. Video of the fable of students in English drama

Title: The treasure of Ji-Ji

Scene: Jiji Town,

people in the Woods: village head, William, Alice, Harry, Cinderella, Ding Ding, Dangdang, wizard. Postmen A and B.

Scene 1: Gathering town people: village head, William, Alice, Harry, Cinderella

William accepts everyone's cheers

Village head: the first warrior this time.

village head: the winner of the best warrior is William.

(put on the colored ribbon)

William: (laughs) Ha! I won again this time.

William: Hooray! This time I have won again.

Alice: Wow! William, you are amazing! You are really my hero.

Alice: Wow! William, you are so good ! You are really a hero in my mind.

Village head: Harry! You are last again this year, come on! (under the village head)

Village head: Harry! You are the last this year, Come on! (village head leaves)

William: I'm so hungry! Miss Alice!

William: I am very hungry ! Alice.

Alice: I'll make delicious snacks for you.

Alice: I'll bake the delicious cookies for you.

Sendura: Me too!

Sandra: Me too.

William: OK, OK, OK!

William: It is good , good , good!

Harry: hmm … Miss Chandra?

Harry: Eh ! Sandra.

Sandra: Yes?

Sandra: What's the matter?

Harry: I have a hole in my pants? I want to ......

Harry: my troubles broke a hole and I wonder if you can ...

Sendura: I'm not free! I'm sorry! .

Sandra: I have no time!

Harry: Oh … (innocent expression)

Harry: oh! (Innocent expression)

location of the second act: forest figures: Ding Ding, Dangdang, Harry, wizard and village head

After William, Alice and Cinderella left the stage, Ding Ding and Dangdang carried heavy objects on the stage, and Harry walked lonely. I ran into Ding Ding and Dangdang

Ding-Ding and Down-Down Append on the stage and lift the heavy object]

(Harry leave lonely, with Ding-Ding, down-coming by chance)

Ding Ding: It's so heavy!

Ding-ding: Very heavy!

Dangdang: I'm so tired!

Down-down: Very hard !

Harry: ding-ding, dang-dang! What is so heavy?

Harry: Ding-ding, Down-down, what is so heavy?

ding-ding: this is the fruit we just picked from the mountain.

ding-ding: this is the fruit we plug from the mountains.

Dangdang: but every time we pass here, it will be blocked by this big stone.

Down-down: Every time, When we pass here, we will be blocked by this big stone.

Ding-Ding: I really hope that the big stone can disappear, so that we can

3. The fable Mr. Dongpo and the Wolf, a one-act drama

Several small fish in the water, Or

4. What stories in Aesop's fables are good for drama

depends on the age and budget ...

5. For the major of film and television performance in art test, it is better to choose fable stories as lines, or to choose difficult drama excerpts and recommend them by the way. Thank you ~ I am male, and the voice condition is one.

There are several artistic laws and principles that must be followed in recitation in the examination room, that is, ". There are also several taboos that can't be violated, that is, "Don't do anything":

From a macro perspective, the basic requirements of recitation should be the principle of "three musts and four musts", and the three main things of recitation are:

First, it should be clear so that the examiner can hear clearly and understand clearly;

second, it should be touching, really touching, really beautiful, intriguing and enjoyable;

Third, individualize and create unique personality charm.

The four musts of recitation are:

Words must have a purpose. Language should have a clear purpose and reflect the theme and meaning of the work;

what you say means something. Language should start from the heart and have true feelings;

words must be tangible. Language should have a clear sense of image and establish inner video;

what you say must be done. Language should be artistically processed, skillful and aesthetic.

In the end, the examination skills of recitation in the examination room are summarized as "Nine Needs and Nine Don 'ts":

1. To read well, you must read the full text repeatedly. First, you must understand it before you can complete the recitation.

candidates must know the whole script and have a profound and correct understanding and feeling of the whole work; Understand the whole play; Understand the prescribed situation; Understand the content level of lines; Understand the purpose of the lines; Understand the relationship between people; Understand the feelings of characters; Understand the style; Understand narrative methods, etc. Understand the position of this character and this joke in the whole play. Never just recite the selected fragments, only one-sided literal meaning.

2. Make full preparations, including being familiar with reading, understanding, handling and presenting manuscripts; Including external, psychological, technical and life preparation.

candidates should have a correct understanding, real feelings and artistic treatment of the content of the manuscript. It is necessary to express the content of the manuscript as vividly and accurately as possible, and to understand the connotation of the manuscript well. If you have the conditions, you'd better consult an experienced professional teacher for guidance, so that you can deeply understand the structure and meaning of the work, deepen your feelings about the content and improve your reading scores. Don't cram for the Buddha's feet temporarily. Never read a manuscript, it will definitely be eliminated, it is a kind of suicide.

3. Go deep into the work, speak as the author, and put your life into it.

To read a piece of work well, we should not only use sound and skills, but also "touch" and express it with our heart. It requires the examinee's strong emotional input, even * * *. Never use only voice, objective and indifferent expression in the exam, and don't shout at the top of your lungs, don't take it personally, and recite it in a rigid language form. If you are excited, you will shout loudly, if you are sad and painful, you will cry, if you are angry, you will scream when you are happy, and so on.

4. Be true, sincere, sincere and life-oriented. This is the priority principle to be followed in language expression. False creation is the enemy of performance and recitation.

The effect of recitation depends on the understanding and expression of the works. If you understand accurately, feel deeply and express it appropriately and expressively through language, you will certainly achieve better reading effect. Candidates should find and use certain language forms to express the content of their works. The standard of language expression is to be able to truly, naturally and sincerely describe the people and things, feelings and scenes in the works, which makes people sound true. This requires that the expression of language should not be divorced from the reality of life, whether it is the arrangement of intonation, stress, pause, or the treatment of rhythm and sound. Never make people feel pretentious and playful, giving people the feeling of being fast and slow, high and low, big and small, and being shocked and stunned. Never "perform" recitation. Recitation is not performance. You can't rely on performance, you can use some coordinated gestures, but don't use gestures, expressions and other actions too much.

5. Read a relatively complete work within the specified three minutes, and fully display the performance quality and charm of the candidates.

Generally speaking, reciting a manuscript takes more than three minutes, and it is absolutely impossible to work overtime in the examination room. How to solve this contradiction is very important. So be sure to abridge the selected manuscript. Delete unimportant, repetitive and repetitive content, or extract a wonderful paragraph, or connect the wonderful paragraphs to some extent.

In the process of reading the exam, the examiner may, according to the situation, let the candidates finish reading in one breath, or interrupt in the middle of reading, and then let the candidates read in training after putting forward some specific requirements. At this time, candidates should listen carefully to the teacher's hints, accept the teacher's inspiration, and strive to recite according to the teacher's requirements. Sometimes, because the examinee's recitation manuscript is too long, he will not continue to recite after the interruption, which shows that the examiner has already understood the examinee and does not need to continue to recite. All these situations are normal, and they do not mean that recitation is good or bad.

6. We should not only talk about truth and life, but also talk about skills and charm. Many candidates have done well in real life, so what they compare in the examination room is skill, feeling and charm.

Language skills include mood, stress, pause, breath, height, weight, speed, rhythm and so on, as well as inner video, inner monologue, subtext and language action.

pitch, volume, sound length and timbre are the basic elements that make up the ever-changing color of language sound. It can be said that all the skills of language and sound are inseparable from the constraints of these four basic elements. The most basic and minimum requirement of performing language is to learn standard pronunciation of Mandarin and correct dialects. Therefore, it is necessary to master the pronunciation of Chinese phonetic phonemes in order to maintain the unique timbre of each phoneme. Secondly, it also requires accurate and vivid expression of semantic meaning, which requires not only accurate pronunciation, rhyme and tone of each word, but also mastering the rules of tone sandhi of words and expressions, all of which are inseparable from the changes of four elements of sound.

7. We should deeply analyze, enrich and explore the prescribed situations, especially the excavation and handling of the relationship between characters.

The prescribed situation is the basis of the characters' thoughts, actions and words, and it determines the characters' attitude, manner and discretion. Only when we have a concrete and profound understanding of the prescribed situation can we handle recitation and monologue correctly, vividly, richly and profoundly. When dealing with monologues, we must feel under what circumstances the characters said it and who they told it under what relationship. And make it act on your own heart and actions, so that you can truly master the prescribed situation when you speak. Don't be simplistic and superficial, just read out the literal meaning of the manuscript. Don't understand the relationship between the situation and the characters superficially, and make superficial articles.

8. Emphasis should be placed on levels, changes, priorities and ups and downs, so as to make the recitation rich and charming.

The recitation should focus on levels, advance at different levels, ups and downs, and priorities. In order to change the level, first of all, we must deeply understand the contradictions and conflicts in the whole drama and how the drama situation develops, establish a general ups and downs in our hearts, and determine its height according to the different positions of this development line. If you leave the overall development line, you will rise and fall at will, which will make the whole recitation chaotic. Recitation must not be straightforward, plain, neither high nor low, nor cadence.

9. To talk about the change of language rhythm, we should have * * *, and push the recitation to * * *.

The change of recitation rhythm is the foundation of all creation, and rhythm is the life of performance. The rhythm of recitation comes from the following factors:

l The inner feelings of the characters and the specified situation in the play.

l Different characters have different speed and rhythm of language, so the processing of speed and rhythm of lines must conform to the personality characteristics of the characters.

l one of the key points of mastering sound rhythm is to be good at grasping * * *.

l colorful language speed and rhythm changes can make the characters' language musical. This kind of line processing with rhythm and artistic beauty can enhance the attraction and persuasiveness of stage language.

6. Ask for a drama script of an idiom story or fable story, not too long for 1 to 15 minutes, and it is better to have fewer props or something. Urgent!

One-act drama

March 28th

(based on Xu Jingde's The Kindness of Confucius)

Lu Qun, Xie Yiping

Time: China's Spring and Autumn Period

Location: Confucius Room

Character: Confucius, male, forty or fifty years old, educator.

zhong you: male, in his twenties, a scholar and a Confucius student.

buyer: male, in his thirties, local tyrant.

setting: Confucius' living room. There is a plan in the center of the living room, and there are many letters on the plan.

curtain rises: Confucius sits cross-legged after the case is filed and is reading a book. Brush your beard and smile.

buyer: (hurriedly) (loudly) Mr. Kong, Mr. Kong, you judge us, you judge us

!

Zhong You: (carrying a helmet, following the buyer) Teacher, please judge for us!

Confucius: (doubtfully) You? Comment? What's the point?

Zhong You: (confidently) Just now, the student heard that he (referring to the buyer) had an argument with the seller in the market, and sold

the owner.