本文選題：歌劇 + 《野火春風(fēng)斗古城》��； 參考：《山東師范大學(xué)》2012年碩士論文

【摘要】：中華民族有著悠久的音樂(lè)戲劇傳統(tǒng)，從漢代的百戲、隋唐的歌舞大曲到宋元時(shí)期的雜劇和南戲以及后來(lái)的京劇，都是音樂(lè)和戲劇相結(jié)合的產(chǎn)物。真正意義上的第一部民族歌劇是1945年出演的《白毛女》，它是中國(guó)歌劇史上一部具有里程碑意義的作品，隨后《星星之火》、《小二黑結(jié)婚》、《江姐》、《傷逝》、《原野》等歌劇作品大量涌現(xiàn)，，中國(guó)歌劇藝術(shù)逐步找到了自己獨(dú)特的發(fā)展道路，歌劇藝術(shù)蓬勃發(fā)展。 《野火春風(fēng)斗古城》最早以文學(xué)的形式出現(xiàn)，隨后被改編為電影、電視劇，其劇情可以說(shuō)是家喻戶曉。2005年，在紀(jì)念抗日戰(zhàn)爭(zhēng)勝利暨世界反法西斯戰(zhàn)爭(zhēng)勝利60周年的日子里，總政歌劇團(tuán)將其改編成歌劇并成功演出。劇作家精心選取小說(shuō)主要情節(jié)，表現(xiàn)古城保定當(dāng)年的地下抗日斗爭(zhēng)故事。在音樂(lè)上，以河北地區(qū)的戲曲、曲藝、民歌為主要素材，兼以晉、魯、豫地區(qū)的音樂(lè)和日本音樂(lè)素材，融合上西洋現(xiàn)代音樂(lè)的強(qiáng)烈尖銳的音響和豐富的和聲，綜合運(yùn)用美聲、民族、通俗三種唱法，共同為整部歌劇服務(wù)。 本文選取《野火春風(fēng)斗古城》中楊曉東人物的形象塑造作為研究對(duì)象，通過(guò)對(duì)歌劇《野火春風(fēng)斗古城》的相關(guān)資料以及歌劇理論的研讀，把握歌劇《野火春風(fēng)斗古城》的創(chuàng)作背景和藝術(shù)特征，更加深入地把握楊曉東的人物形象，并通過(guò)對(duì)其主要唱段的研究，為歌唱者成功塑造楊曉東人物形象提出可借鑒的觀點(diǎn)。 本文撰寫(xiě)主要由三個(gè)章節(jié)構(gòu)成。 第一章首先介紹歌劇《野火春風(fēng)斗古城》劇情的歷史淵源和創(chuàng)作背景，并從鮮明的時(shí)代性、強(qiáng)烈的戲劇性、情感的復(fù)雜性和唱腔特點(diǎn)的多元性四個(gè)方面論述其藝術(shù)特征。 第二章著重分析楊曉東的人物英雄形象，從劇中人物角色和人物性格兩個(gè)方面展開(kāi)論述，把握楊曉東對(duì)黨忠誠(chéng)、性情成熟、為了革命事業(yè)不惜犧牲個(gè)人利益的人物特點(diǎn)。 第三章重點(diǎn)論述楊曉東人物唱段得分析及演唱處理。本章分為兩節(jié)，第一節(jié)：楊曉東兩首詠嘆調(diào)的分析及演唱處理。對(duì)抒情性詠嘆調(diào)《抖落征塵抬眼望》和戲劇性詠嘆調(diào)《不能盡孝愧對(duì)娘》分別從音樂(lè)本體、音樂(lè)形象和人物心理三個(gè)方面深度剖析，并對(duì)這兩首作品的演唱處理發(fā)表自己的觀點(diǎn)。第二節(jié)：楊曉東三首重唱唱段的分析及演唱處理，通過(guò)對(duì)《人氣》、《開(kāi)藥方》和《對(duì)峙》這三首重唱唱段的劇情背景分析、音樂(lè)本體分析，結(jié)合重唱藝術(shù)的特點(diǎn)，對(duì)它們的演唱處理提出可借鑒性的意見(jiàn)。 最后得出結(jié)語(yǔ)：《野火春風(fēng)斗古城》是新時(shí)期一部?jī)?yōu)秀的民族歌劇，不僅在題材上，而且在音樂(lè)以及唱腔特點(diǎn)上都具有自己獨(dú)特的特點(diǎn)。楊曉東作為劇中主角，始終代表著穩(wěn)定成熟、忠誠(chéng)的英雄人物形象，演唱其唱段，不但要綜合把握具體唱段的音樂(lè)本體、劇情背景、情感定位，而且要時(shí)刻體現(xiàn)出他的英雄人物形象。
[Abstract]:The Chinese nation has a long tradition of music and drama, from the hundred operas in the Han Dynasty, the songs and dances in the Sui and Tang dynasties to the zaju and the southern operas in the Song and Yuan dynasties, and later Beijing Opera, all of which are the products of the combination of music and drama. The first national opera in the real sense was the Whitehaired woman in 1945. It was a landmark in the history of Chinese opera. Then, "Spark", "Square Black Marriage", "Jiangjie", "death", "Field" and other opera works emerged in large numbers. Chinese opera art gradually found its own unique development path, and opera art flourished. "the Old City of Wild Fire and Spring fighting" first appeared in the form of literature and was subsequently adapted into films and TV dramas, the plot of which can be said to be a household name. In 2005, on the day marking the 60th anniversary of the victory of the Anti-Japanese War and the World Anti-Fascist War, The general government opera troupe adapted it into an opera and performed successfully. The playwright meticulously selects the main plot of the novel to show the story of the underground anti-Japanese struggle in Baoding, the ancient city. In music, Hebei opera, quyi, folk songs as the main material, and the Jin, Shandong, Henan and Japanese music materials, the integration of western modern music strong sharp sound and rich harmony, comprehensive use of beautiful sound, The nation, popular three kinds of singing, together for the whole opera service. In this paper, the image of Yang Xiaodong in the Old City of Wild Fire Spring Wind Dou is chosen as the research object, and through the study of the relevant materials and the opera theory of the opera "Wild Fire Spring Wind fighting Ancient City", In order to grasp the background and artistic features of the opera "the Old City of Wild Fire and Spring fighting", to grasp the character image of Yang Xiaodong more deeply, and through the study of its main choreography, the author puts forward some ideas that can be used for reference for the singer to successfully portray the character image of Yang Xiaodong. This article is composed of three chapters. The first chapter first introduces the historical origin and creative background of the opera "Wild Fire and Spring fighting Ancient City", and discusses its artistic characteristics from four aspects: distinct epoch, intense drama, emotional complexity and multiplicity of singing characteristics. The second chapter focuses on the analysis of Yang Xiaodong's hero image, from the two aspects of character and character, to grasp the character characteristics of Yang Xiaodong loyal to the party, mature temperament, at the expense of personal interests for the cause of revolution. The third chapter focuses on the analysis and processing of Yang Xiaodong characters. This chapter is divided into two sections, the first section: Yang Xiaodong two arias analysis and singing processing. To the lyric aria "buffeting the dust and raising the eyes" and the dramatic aria "can't be filial piety to shame", respectively from the music ontology, the music image and the character psychology three aspects deep analysis, And the two pieces of singing processing to express their views. The second section: the analysis and the singing processing of the Yang Xiaodong's three recitals, through the analysis of the plot background, the music Noumenon analysis, and the characteristics of the duet art of "popular", "prescription" and "confrontation". The author puts forward some suggestions on how to deal with their singing. Finally, the conclusion is drawn: "the Old City of Wild Fire and Spring fighting" is an excellent national opera in the new period, which has its own unique characteristics not only in subject matter, but also in music and singing. As the protagonist of the play, Yang Xiaodong always represents a stable, mature, loyal hero image, singing its track, not only to comprehensively grasp the music itself, plot background, emotional positioning, And always reflect his hero image.
【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】：2012
【分類號(hào)】：J822

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本文編號(hào)：1891241