本文選題：歌劇《蒼原》　切入點(diǎn)：娜仁高娃　出處：《山東師范大學(xué)》2009年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】： 1995年歌劇《蒼原》首演以來(lái),至今演出近百場(chǎng),曾榮獲多項(xiàng)國(guó)家級(jí)大獎(jiǎng),成為新中國(guó)成立以來(lái)的經(jīng)典歌劇之一,被納入2002年度“國(guó)家舞臺(tái)藝術(shù)精品工程”初選劇目�！渡n原》公演后各種榮譽(yù)紛至沓來(lái),被譽(yù)為“中國(guó)歌劇藝術(shù)的里程碑”、“西洋歌劇民族化的典范”等。中國(guó)歌劇評(píng)論家劉詩(shī)嶸這樣評(píng)價(jià)到:“《蒼原》在各個(gè)方面的綜合成功,就好似一塊塊五彩斑斕的巨石最后構(gòu)筑起了一座歌劇的崇山�！敝魳�(lè)評(píng)論家居其宏也這樣講到:“將波瀾壯闊、凝重沉雄的史詩(shī)性風(fēng)格當(dāng)一個(gè)劇院整體打造的目標(biāo)、十余年鍥而不舍取得重要成就的,在整個(gè)20世紀(jì)中國(guó)歌劇上,遼歌也是名副其實(shí)的第一家�！背浞值恼f(shuō)明了遼寧歌劇院打造的歌劇《蒼原》在中國(guó)歌劇界產(chǎn)生了巨大的反響。 關(guān)于中國(guó)歌劇的研究一直被音樂(lè)界的同仁們所關(guān)注,對(duì)于這個(gè)發(fā)展中的問(wèn)題,歌劇工作者們也一直走在探索的道路上。歌劇藝術(shù)的獨(dú)特魅力在于它塑造了栩栩如生的人物形象,以事寫(xiě)人,以人映事�！渡n原》作為當(dāng)代具有影響力的歌劇作品之一,對(duì)其作品中人物形象塑造的分析具有可行性意義。本文通過(guò)對(duì)劇中唯一女主角——娜仁高娃的歌劇形象的分析,在前人時(shí)賢的有關(guān)《蒼原》的研究基礎(chǔ)之上,挖掘娜仁高娃這一形象的塑造過(guò)程,探索中國(guó)歌劇中女性人物的演唱技巧和形象塑造,進(jìn)而深層認(rèn)識(shí)《蒼原》在中國(guó)歌劇發(fā)展史上的地位和作用,同時(shí)也能提高筆者在聲樂(lè)演唱上的理解力和表現(xiàn)力。本文從以下幾個(gè)方面分析研究娜仁高娃這一形象的塑造過(guò)程: 緒論部分,揭示了研究分析《蒼原》中娜仁高娃這一形象的目的和意義,研究現(xiàn)狀、資料來(lái)源等等。第一部分筆者將從《蒼原》的創(chuàng)作背景、劇情結(jié)構(gòu)和音樂(lè)特征三個(gè)方面對(duì)《蒼原》進(jìn)行縱觀的分析,對(duì)歌劇《蒼原》的整體概況進(jìn)行初步的介紹;第二部分闡述了娜仁高娃戲劇形象的塑造過(guò)程及其審美價(jià)值。對(duì)娜仁高娃戲劇形象的塑造從“大我”形象和“小我”形象兩個(gè)角度進(jìn)行深入淺出的分析,然后從歌劇美學(xué)角度闡述了娜仁高娃這一形象的“崇高”美和“悲壯”美的審美價(jià)值;第三部分是本論文的重點(diǎn)章節(jié),詳細(xì)論述了娜仁高娃音樂(lè)形象的塑造過(guò)程,筆者分別從獨(dú)唱、重唱、合唱及演員的二度創(chuàng)作的角度對(duì)娜仁高娃音樂(lè)形象的塑造過(guò)程進(jìn)行全面的分析。本章從音樂(lè)本體、歌唱技巧(呼吸、語(yǔ)言、音色、音量)、舞臺(tái)表現(xiàn)力等方面對(duì)娜仁高娃的唱段進(jìn)行探索研究。最后為結(jié)語(yǔ)部分,對(duì)論文的脈絡(luò)進(jìn)行梳理總結(jié),進(jìn)一步揭示《蒼原》對(duì)中國(guó)歌劇的啟示和意義并對(duì)娜仁高娃這一歌劇形象的塑造進(jìn)行總結(jié)性的闡述。
[Abstract]:Since the opening of the opera Cang Yuan in 1995, nearly 100 performances have been performed so far. They have won many national awards and become one of the classic operas since the founding of the people's Republic of China. It was included in the National stage Art Project of 2002. After the "Cangyuan" performance, all kinds of honours poured in. Known as "the milestone of Chinese opera art" and "the model of the nationalization of western opera," Liu Shirong, a Chinese opera critic, commented: "the comprehensive success of" Cang Yuan "in all aspects, It's like a piece of multicolored boulders finally built a mountain of opera. "A famous music critic, Zhu Qihong, said," Let the magnificent and dignified historical poetic style be the goal of a theater as a whole. In 20th century, Liao Song was also the first opera in China. "it fully shows that the opera" Cang Yuan "created by the Liaoning Opera House has produced a huge response in the Chinese opera circles." The research on Chinese opera has always been concerned by colleagues in the music industry. The unique charm of opera art is that it has created vivid characters, writing people with things and reflecting things. Cang Yuan is one of the influential operas in contemporary times. It is of practical significance to analyze the portrayal of characters in his works. Through the analysis of the opera image of Narengaova, the only female protagonist in the play, on the basis of the previous research on Cang Yuan, Excavating the process of shaping the image of Narengaova, exploring the singing skills and image shaping of female characters in Chinese opera, and then deeply understanding the position and role of Cangyuan in the history of the development of Chinese opera. At the same time, it can also improve the writer's understanding and expressiveness in singing vocal music. This paper analyzes and studies the process of shaping the image of Narengawa from the following aspects:. In the introduction part, it reveals the purpose and significance of the image of Narengaova in Cangyuan, the present situation of the research, the source of the data, etc. The first part of the author will start with the background of the creation of Cangyuan. The plot structure and musical characteristics of the three aspects of the "Cang Yuan" for a general analysis of the opera "Cang Yuan" of the overall situation of the preliminary introduction; The second part expounds the shaping process and aesthetic value of Narengawa's dramatic image. Then from the angle of opera aesthetics, it expounds the aesthetic value of "lofty" beauty and "tragically" beauty of the image of Narengaova. The third part is the key chapter of this paper, which discusses the process of shaping the musical image of Narengawa in detail. The author makes a comprehensive analysis of the process of shaping the musical image of Narengawa from the perspectives of solo, duet, chorus and the second creation of the actors. This chapter is based on the music ontology, singing techniques (breathing, language, timbre, etc.). In the aspects of volume, stage expression and so on, the author explores and studies the singing passages of Narengaova. Finally, the conclusion is the summary of the paper's context. It further reveals the enlightenment and significance of Cang Yuan to Chinese opera and expounds the creation of the image of Narengaova.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類(lèi)號(hào)】：J822

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前3條

1 郭婧;“悲劇”—“英雄”—“愛(ài)情”從《白毛女》和《蒼原》女主人公藝術(shù)形象的分析中微觀中國(guó)歌劇女性形象[D];內(nèi)蒙古師范大學(xué);2011年

2 劉菲;論歌劇《劉胡蘭》的創(chuàng)作特點(diǎn)及詠嘆調(diào)的演唱技巧[D];燕山大學(xué);2012年

3 李壯;歌劇《蒼原》研究[D];中央音樂(lè)學(xué)院;2012年

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本文編號(hào)：1584963