發(fā)布時(shí)間：2018-02-11 20:02

  本文關(guān)鍵詞： 歌劇的戲劇性 阿蘇切娜 “愛恨情仇” 戲劇性魅力　出處：《陜西師范大學(xué)》2010年碩士論文　論文類型：學(xué)位論文

【摘要】： 歌劇,顧名思義,就是以歌唱為主體的戲劇。歌劇是一種綜合性藝術(shù),是音樂與戲劇的結(jié)合,并且音樂和戲劇也總是相輔相成的。戲劇性,是戲劇藝術(shù)審美特性的集中表現(xiàn),是戲劇之所以為戲劇的那些基本因素的總和。自從有了戲劇,就有了“戲劇性”這一問題。歌劇是以歌唱為主體的戲劇,所以歌劇的戲劇性主要是通過劇情和音樂的戲劇性塑造來體現(xiàn)的�！队我髟娙恕�、《茶花女》、《阿依達(dá)》被評論界推崇為威爾第的四大名作�！队我髟娙恕纷鳛樗拇竺髦灰欢ㄓ兄�(dú)特的魅力,而阿蘇切娜是體現(xiàn)這部歌劇戲劇性的一個(gè)亮點(diǎn)與焦點(diǎn)人物。通過對于她的戲劇性塑造我們能更好的領(lǐng)略這部歌劇的戲劇性魅力。 引言：這一部分闡述了本文的研究目的與意義,主要的研究內(nèi)容、本文的研究思路、方法及創(chuàng)新之處。本文從“戲劇性”這一概念入手,了解“戲劇性”的界定與內(nèi)涵,進(jìn)一步引申到歌劇的戲劇性體現(xiàn)。再通過對阿蘇切娜戲劇性的分析看這部歌劇的魅力。 正文的第一部分：關(guān)于“戲劇”與“戲劇性”的探討。簡述了“戲劇性”的界定與內(nèi)涵�？梢哉f“戲劇性”主要體現(xiàn)為文學(xué)構(gòu)成中的戲劇性與舞臺呈現(xiàn)中的戲劇性的結(jié)合。 第二部分：關(guān)于《游吟詩人》創(chuàng)作的的時(shí)代背景、由于威爾第在創(chuàng)作這部歌劇時(shí)個(gè)人的情感經(jīng)歷而賦予它的情感特征,以及《游吟詩人》的劇情簡介。 第三部分：對阿蘇切娜戲劇性魅力的分析。從阿蘇切娜的文學(xué)上的戲劇性,音樂上的戲劇性以及演唱與表演的戲劇性魅力來把握。 第四部分,通過對阿蘇切娜戲劇性的分析進(jìn)一步分析這部歌劇具有的戲劇性魅力。
[Abstract]:Opera, as its name implies, is a drama with singing as its main body. Opera is a comprehensive art, a combination of music and drama, and music and drama always complement each other. Drama is a concentrated expression of the aesthetic characteristics of dramatic art. It is the sum of the basic factors that make drama a drama. Since the drama came into being, there has been the problem of "drama." opera is a drama with singing as its main body. Therefore, the drama of opera is mainly reflected by the dramatic shaping of the plot and music. The Poets of Camellia, the Lady of Camellia, and Aida have been praised by critics as Verdi's four masterpieces. One must have his unique charm, Asuchena is one of the highlights and focal points of the drama. We can better understand the dramatic charm of the opera by shaping her drama. Introduction: this part describes the purpose and significance of this paper, the main research content, the research ideas, methods and innovations of this paper. This article starts with the concept of "drama", understand the definition and connotation of "drama". Further into the drama of the opera. Then through the dramatic analysis of Athucena to see the charm of the opera. The first part of the text is about the discussion of "drama" and "drama". The definition and connotation of "drama" are briefly described. It can be said that "drama" is mainly embodied in the combination of drama in literary composition and theatrical presentation in stage. The second part is about the background of the creation of this opera, the emotional characteristics endowed by Verdi because of his personal emotional experience while writing the opera, and the synopsis of the opera. The third part: the analysis of Asuchena's dramatic charm, from the drama in literature, the drama in music and the dramatic charm in singing and performing. In the 4th part, the dramatic charm of the opera is further analyzed through the dramatic analysis of Asuchena.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：J832

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 孫濤;領(lǐng)略歌劇《游吟詩人》中魯納伯爵唱段的藝術(shù)價(jià)值[D];華東師范大學(xué);2012年

2 王乾宇;走進(jìn)歌劇中悲喜交加的女性角色[D];河南師范大學(xué);2013年

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本文編號：1503882