本文選題：狄更斯 + 霧都孤兒�。� 參考：《上海音樂(lè)學(xué)院》2017年碩士論文

【摘要】：值狄更斯誕辰200周年之際,《霧都孤兒》中文版音樂(lè)話劇在上海話劇藝術(shù)中心與英國(guó)TNT劇院的共同合作下于2012年7月5號(hào)至22日在上海上演,此后,中文版音樂(lè)話劇《霧都孤兒》先后數(shù)次在上海話劇中心上演,如2013年5月29日到6月9日,及2015年4月1日至4月19日期間的多場(chǎng)演出。中文版音樂(lè)話劇《霧都孤兒》導(dǎo)演保羅·斯特賓(Paul Stebblings)曾直言:"《霧都孤兒》非常適合搬上舞臺(tái),它充滿了戲劇性,悲喜交加。"從其上演及接受情況來(lái)看,斯特賓的話得到了印證,這部作品也受到了中國(guó)觀眾與相關(guān)演職人員的肯定與喜愛(ài),展示了它在小說(shuō)、電影和大劇場(chǎng)音樂(lè)劇之外的另一種潛在生機(jī)。我曾有幸參演上海話劇藝術(shù)中心中文版音樂(lè)話劇《霧都孤兒》,這部流傳了近200年的文學(xué)名著以一種將音樂(lè)與話劇相結(jié)合的藝術(shù)方式重新詮釋,在短短一個(gè)多小時(shí)內(nèi),音樂(lè)話劇版《霧都孤兒》如何有效地反映狄更斯的原作,使其在具有強(qiáng)烈戲劇性的同時(shí)具有現(xiàn)代性,這些都引起了我的思考。本文將從以下幾個(gè)部分對(duì)相關(guān)問(wèn)題進(jìn)行探討:臺(tái)本的戲劇性與喜劇性探討、音樂(lè)的戲劇性表現(xiàn)及戲劇性之于音樂(lè)表演的啟示。由于我曾在中文版音樂(lè)話劇《霧都孤兒》中扮演過(guò)南希和機(jī)靈鬼,我將著重論述這兩個(gè)人物的相關(guān)唱段,結(jié)合戲劇性和人物唱段來(lái)思考人物塑造的相關(guān)問(wèn)題。
[Abstract]:On the 200th anniversary of Dickens' birth, Orphan Twist's Chinese musical drama was staged in Shanghai from July 5 to 22, 2012, in collaboration with the Shanghai Drama Arts Centre and the British TNT Theatre. The Chinese musical drama Orphan of Wudu was staged several times in Shanghai Drama Center, such as May 29 to June 9, 2013, and April 1 to April 19, 2015. Paul Stebblings, director of the Chinese musical drama Orphan Twist, once said, "Orphan Twist is perfect for the stage. It's full of drama and joy." Judging from its performance and reception, Stebbin's words have been confirmed, and the work has also been affirmed and loved by Chinese audiences and related performers, demonstrating its potential vitality in addition to novels, movies and major theater musicals. I had the privilege to take part in the Chinese version of the Shanghai Drama Art Center, the Orphan of Wudu, a literary masterpiece that has been circulating for nearly 200 years and reinterpreted it in an artistic way that combines music with drama, and in just over an hour. How the Orphan of Twist Orphan of the Musical Drama effectively reflects Dickens' original works and makes them have a strong drama and modernity, all of these have aroused my thinking. This article will discuss the related problems from the following parts: the drama and comedy of Taiben, the dramatic performance of music and the inspiration of drama to musical performance. Since I have played Nancy and Ghost in the Chinese musical drama Orphan of Whew, I will focus on the related passages of these two characters, combining drama and character choreography to think about the related problems of character shaping.
【學(xué)位授予單位】：上海音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J834;J617.4

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