dramatis personae

英 [ˌdræmətɪs pɜːˈsəʊnaɪ]

美 [ˌdræmətɪs pɜːrˈsoʊni]

n.  全体剧中人物

牛津词典

noun

• 全体剧中人物
  all the characters in a play in the theatre

柯林斯词典

• (一出戏中的)剧中人物，全部角色
  The characters in a play are sometimes referred to asthe dramatis personae.

英英释义

noun

• the actors in a play
  Synonym:castcast of characters

双语例句

• From the translation style of the dramatis personae's language, the author analyzes the artistic achievement of Ying Ruocheng's translation of "Death of the Salesman".
  本文试从戏剧人物语言的翻译风格的角度，试析著名艺术家、翻译家英若诚先生戏剧翻译作品《推销员之死》的艺术成就。
• When acting as a connotation character, it compares with the dramatis personae and sustains each other.
  当“我”以内涵人物出现时，“我”和主人公参差对照，重叠互映，各得生命；
• National culture, traditional custom, historical tradition and social development are the important sources of dramatis personae in idioms.
  民族文化、风俗习惯、历史传统以及社会发展等是人物习语的重要来源。
• Watching the Dramatis Personae's Emotion Change of Jiao Hong Ji from the Time Narration
  从时间叙事看《娇红记》主人公的情感变化
• Dramatis personae created by Camus have many same characteristic with those classic tragic heroes. And we can associate them together easily.
  加缪作品的主人公具备同古典悲剧主人公相似的性格特征，其人物形象也能让我们联想到很多经典的悲剧人物。
• The love choices of Dramatis personae signify their political ideals, so a hero and a beauty beat a handsome scholar and a pretty girl.
  主人公对爱情的选择象征着其政治理想的归属，英雄美人“打败”了才子佳人。
• Therefore, chapter two and chapter three start to research mostly from the dramatic elements of the opera, it explores the theme of the opera and the causes of the romantic tragedy from the plot and the dramatis personae.
  因此第二章第三章主要从歌剧的戏剧元素进入研究，从歌剧选材和歌剧人物入手，对歌剧主题及爱情悲剧的成因进行考察。
• This papre trying to analyze on dramatis personae charles's unnatural and natural life to discuss the meaning that human existing, from the point of philosophic theory of existentialism.
  本文试图从存在主义哲学理论出发，通过分析主人公查尔斯的非本真和本真生活来探讨人生存在的意义。
• FTL meme refers to the vocal language of dramatis personae in films or TV programs imitated and transmitted from mind to mind.
  影视语言模因是指被复制和传播的电影电视节目中人物的有声语言。
• The second chapter: "Self and" himself are transformed into "author" and "dramatis personae".
  第二章、自我与他者关系的转换：作者与主人公。