戏曲演员的“心工”

戏从人心里走，要做到心中有戏，演员首先要进入到戏里面去。“入戏”是戏曲演员“心工”的基础，没有“心工”，也就没有办法把戏演好。

Microstructure evolution of modified die-cast AlSi10MnMg alloy during solution treatment and its effect on mechanical properties

To optimize the solution treatment process of a modified high-pressure die-cast AlSi10MnMg alloy, the influence of the solution treatment on the microstructure, mechanical properties and fracture mechanisms was studied using OM, SEM, EBSD and tensile test. The experimental results suggest that the solution treatment could be completed in a shorter time at a temperature much lower than the conventional practice. Surface blistering could be avoided and substantial strengthening effect could be achieved in the following aging process. Prolonging solution treatment time and elevating solution temperature would be meaningless or even harmful. The rapid evolution of eutectic silicon during solution treatment, especially at the early stage, affected the way of interaction among α-Al grains during plastic deformation, and changed the ultimate mechanical properties and fracture mode.

论芭蕾钢琴伴奏教师的三项基本能力

芭蕾——作为世界舞蹈的一朵奇葩,训练中离不开钢琴伴奏,伴奏教师的音乐能力对芭蕾人才培养起到不可忽视的作用。本文是笔者工作实践的一个小结,试图说明伴奏教师所应具备的三种基本能力:1.作为芭蕾钢琴伴奏教师,首先要对芭蕾舞蹈语言特点以及与音乐的关系有完整认识,并运用这些知识了解舞蹈动作的意图和训练标准,确立自己基本的伴奏风格,具备正确选择伴奏音乐的能力。2.作为一名称职的伴奏教师,其工作性质是配合舞蹈教师的教学意图,因此,应该具备适应舞蹈教师对不同伴奏风格要求的能力。3.良好的钢琴表演艺术能力,是伴奏教师运用钢琴再现音乐语言的能力,是其在课堂上保持艺术热情的源泉,也是舞蹈学生训练中的音乐记忆。