【摘要】：歌劇《浮士德》是古諾最著名的作品之一。但歌劇的主題與詩劇主題有著很大的差別。詩劇通過浮士德一生的探索追求，藝術(shù)地概括和表現(xiàn)了資產(chǎn)階級上升時(shí)期的知識分子形象，表現(xiàn)了資產(chǎn)階級思想的發(fā)展歷程。浮士德矛盾的兩重性、他的不斷追求、不斷探索的精神，代表了資產(chǎn)階級上升時(shí)期的進(jìn)步知識分子的形象。而古諾歌劇則以愛情悲劇為中心，忽略了詩劇的哲理性和象征性，側(cè)重表現(xiàn)瑪格麗特的天真純樸善良以及她對愛情的追求，由此產(chǎn)生的與封建道德觀念和宗教意識的沖突，并導(dǎo)致悲劇結(jié)局。 全文由四章組成，第一章緒論，總括研究緣起、研究設(shè)想等。歌劇是一門綜合性的藝術(shù)，而戲劇首當(dāng)其沖是歌劇最重要的藝術(shù)元素，同時(shí)也是歌劇的基本品格。戲劇的基本范疇又包括故事情節(jié)、人物關(guān)系、以及對話與詩劇等等，，這對研究一部歌劇來說是不可或缺的。因此第二章第三章主要從歌劇的戲劇元素進(jìn)入研究，從歌劇選材和歌劇人物入手，對歌劇主題及愛情悲劇的成因進(jìn)行考察。從文本角度，探析歌劇主題形成、戲劇人物關(guān)系，以及這種關(guān)系與戲劇沖突發(fā)展的關(guān)系，瑪格麗特悲劇的成因；第四章從歌劇音樂的元素著手，把握對瑪格麗特愛情悲劇的音樂刻畫，對人物性格的音樂展示。筆者在第四章中根據(jù)歌劇音樂的戲劇性功能及歌劇的音樂表現(xiàn)手段，從抒情性、敘事性和沖突性三方面入手，對歌劇人物形象及愛情悲劇的刻畫做進(jìn)一步的詮釋，以期深化對歌劇主題的把握。
[Abstract]:The opera Faust is one of Cournot's most famous works. But the theme of opera and the theme of poetry are very different. Through the exploration and pursuit of Faust's life, the poetic drama summarizes and expresses the image of the intellectuals in the rising period of the bourgeoisie and the development course of the bourgeois thought. The duality of Faust's contradiction, his constant pursuit and the spirit of constant exploration represent the image of progressive intellectuals in the rising period of bourgeoisie. On the other hand, the opera centered on the tragedy of love, neglecting the philosophical and symbolic aspects of poetry, focusing on the expression of Marguerite's innocence and kindness and her pursuit of love, which resulted in conflicts with feudal moral concepts and religious consciousness. And lead to a tragic ending. This paper is composed of four chapters, the first chapter is introduction, the origin of the overall research, research ideas and so on. Opera is a comprehensive art, and drama is the most important artistic element and the basic character of opera. The basic categories of drama, such as storyline, character relationship, dialogue and poetry, are indispensable to the study of an opera. Therefore, the second chapter and the third chapter mainly from the opera drama elements into the study, from the opera selection and opera characters, the opera theme and love tragedy causes were investigated. From the perspective of text, this paper explores the formation of opera themes, the relationship between dramatic characters and the development of drama conflicts, and the causes of Margaret's tragedy. The fourth chapter begins with the elements of opera music, grasping the musical depiction of Margaret's love tragedy and the musical display of character. In the fourth chapter, according to the dramatic function of opera music and the means of musical expression of opera, from three aspects of lyricism, narration and conflict, the author further interprets the portrayal of opera characters and love tragedy. In order to deepen the grasp of the theme of opera.
【學(xué)位授予單位】：福建師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2006
【分類號】：I516;J832;J609.5

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前3條

1 馬納;論古諾歌劇中女主角的人物塑造和聲音處理[D];湖南師范大學(xué);2012年

2 吳會(huì)云;瓦格納歌劇《唐豪瑟》中“唐豪瑟”人物形象分析[D];福建師范大學(xué);2013年

3 花蕾;古諾歌劇《羅密歐與朱麗葉》中朱麗葉的人物塑造及演唱風(fēng)格研究[D];上海師范大學(xué);2013年

本文編號：2377403