本文關(guān)鍵詞：歌劇《圖蘭朵》和晉劇《打金枝》的比較研究　出處：《山西大學(xué)》2010年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 歌劇 圖蘭朵 管弦樂隊(duì) 晉劇 打金枝

【摘要】： 外國(guó)歌劇經(jīng)歷了近四百年的發(fā)展歷史,不但未衰落,反而歷久彌新,成為一種全球性現(xiàn)象,為不同膚色和不同文化背景的人民所喜聞樂見。歌劇是一種獨(dú)特華美的藝術(shù)形式,與其他藝術(shù)門類截然不同,把許多不同性質(zhì)的成分,如：獨(dú)唱、重唱、合唱、燈光、設(shè)計(jì)、樂隊(duì)、動(dòng)作和舞蹈,予以綜合來獲得生命力。作為一門綜合的藝術(shù)形式,它主要有三種表現(xiàn)途徑：臺(tái)詞、音樂、視覺畫面。歌劇經(jīng)典作品《圖蘭朵》是意大利作曲家普契尼最后一部歌劇作品,是唯一以印象派技法寫作的意大利歌劇,該劇講述的是發(fā)生在中國(guó)元朝時(shí)的一個(gè)傳奇故事。普契尼在劇中選用了中國(guó)民謠“茉莉花”的曲調(diào),賦予該劇濃郁的東方韻味,但又不失意大利歌劇的傳統(tǒng)風(fēng)格,因而取得了極佳的藝術(shù)效果,成為歌劇舞臺(tái)上常演不衰的經(jīng)典劇目。 晉劇,也稱“山西梆子”或“中路梆子”,是山西省主要?jiǎng)》N之一,流行于山西、內(nèi)蒙的大部分地區(qū)和河北、陜西、甘肅等省的部分地區(qū)。同其他地方戲曲一樣,是綜合歌、舞、劇等藝術(shù)形式而成的。其音樂屬板腔體,主要唱腔為“亂彈”,基本板式有：四股眼、夾板、二性、流水、介板、滾白、導(dǎo)板；曲牌又分“絲弦牌子”“苦相思”“嗩吶牌子”三種,總數(shù)約有三百余首之多�！洞蚪鹬Α肥菚x劇經(jīng)典作品,是我省各個(gè)晉劇演出團(tuán)體常演不衰的保留戲、看家戲,經(jīng)過幾代晉劇表演藝術(shù)家的磨礪與完善,角色的一唱一做、一招一式皆精致細(xì)膩,令人叫絕。 本論文將這兩部中外經(jīng)典劇目進(jìn)行了比較研究,是基于它們皆屬于“宮廷戲”,女主角都是驕橫但又美麗的中國(guó)公主,在劇中經(jīng)歷了一系列的戲劇性的沖突碰撞。論文依據(jù)兩個(gè)版本作品的演繹：一個(gè)是列文指揮,多明戈主演的《圖蘭朵》,另一個(gè)是山西省晉劇院排演,王愛愛主演的《打金枝》。本論文在對(duì)兩部經(jīng)典劇作在劇本創(chuàng)作、經(jīng)典唱段、表演特點(diǎn)等方面分別行文介紹之后,主要就兩部劇目的劇本創(chuàng)作、音樂創(chuàng)作、表演形式等方面進(jìn)行比較研究,并著重就音樂創(chuàng)作的特點(diǎn)做進(jìn)一步的比較：目前擬從兩劇的唱段設(shè)計(jì)、合唱與對(duì)唱唱段、前奏間奏的創(chuàng)作、場(chǎng)景伴奏音樂等角度研討。 目前,國(guó)內(nèi)對(duì)于中外劇目的比較研究,有關(guān)于腳本、音樂創(chuàng)作特點(diǎn)等方面的研究,但是對(duì)于具體的歌劇與晉劇劇目的比較研究較少。本論文,期望通過一系列的比較研究,學(xué)習(xí)借鑒外國(guó)歌劇的優(yōu)秀創(chuàng)作及演劇經(jīng)驗(yàn),比如西方交響樂的音樂創(chuàng)作技術(shù),人物的音樂形象設(shè)計(jì),不同色彩的配器手法等,在傳統(tǒng)創(chuàng)作的基礎(chǔ)上引進(jìn)新的作曲技法,提高晉劇音樂的創(chuàng)作成分,從音樂創(chuàng)新的角度加快整個(gè)劇種的創(chuàng)新進(jìn)程。
[Abstract]:Foreign opera has experienced nearly 400 years of development history, not only has not declined, but has become a global phenomenon. Opera is a unique and beautiful form of art, distinct from other art categories, bringing many different ingredients, such as solos, recitals, and choral songs. Lighting, design, band, movement and dance are integrated to gain vitality. As a comprehensive art form, it has three main ways of expression: lines, music. Visual Picture. The classic opera, Turandot, is the last opera by Italian composer Puccini and the only Italian opera written in Impressionist techniques. Puccini chooses the tune of the Chinese folk song "Jasmine" to give it a strong oriental charm. But without losing the traditional style of Italian opera, it has achieved excellent artistic effect, and has become a classic opera often performed on the opera stage. Jin Opera, also known as "Shanxi Bangzi" or "Zhonglu Bangzi", is one of the main kinds of plays in Shanxi Province, popular in most areas of Shanxi, Inner Mongolia and Hebei, Shaanxi. Gansu and other parts of the province. Like other local operas, is a comprehensive song, dance, opera and other forms of art. Its music belongs to the board cavity, the main singing for "random play", the basic pattern has: four eyes, splint. Two sex, income, medium plate, roll white, guide plate; Qu card is divided into "silk string brand", "bitter acacia", "suona brand", a total of about 300 more. Family drama, after several generations of Jin opera performance artists honed and perfect, the role of a singing and doing, a delicate and exquisite, amazing. This thesis makes a comparative study of the two classical Chinese and foreign operas, based on the fact that they are both "court plays", and the heroines are both arrogant and beautiful Chinese princesses. In the play experienced a series of dramatic conflicts and collisions. The thesis is based on the interpretation of two versions of the work: one is the conductor of Levin, Domingo starring in "Turandot", and the other is the Shanxi Jin Opera Yuan rehearsal. After introducing the two classic plays in the aspects of script creation, classical choreography, performance characteristics and so on, this paper mainly introduces the script creation and music creation of the two plays. Performance form and other aspects of comparative research, and focus on the characteristics of music creation to make a further comparison: at present, from the choir design of the two plays, choir and duality, between the creation of the prelude. Study on scene accompaniment music and other angles. At present, the domestic comparative study of Chinese and foreign plays, there are about script, music creation characteristics and other aspects of research, but for the specific opera and Jin opera repertoire comparative research is less. This paper. Through a series of comparative studies, I hope to learn from foreign opera excellent creation and performance experience, such as Western symphony music creation technology, characters' music image design, different color orchestration techniques, and so on. On the basis of traditional creation, this paper introduces new composing techniques, improves the composition of Jin opera music, and speeds up the innovation process of the whole drama from the angle of music innovation.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J805

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 程秀麗;普契尼歌劇《圖蘭朵》的劇本分析[D];東北師范大學(xué);2012年

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本文編號(hào)：1428599