本文選題：中國歌劇 + 金子　； 參考：《陜西師范大學(xué)》2015年碩士論文

【摘要】：歌劇藝術(shù)從上個世紀(jì)初傳到中國,在中國歷經(jīng)了近一個世紀(jì)的傳承發(fā)展,形成了中國特色的民族原創(chuàng)歌劇。在幾代作曲人的努力創(chuàng)作中產(chǎn)生了例如《白毛女》、《江姐》、 《黨的女兒》等優(yōu)秀的中國原創(chuàng)歌劇作品。在毛澤東《延安文藝座談會》思想的指導(dǎo)下,中國歌劇事業(yè)有了新的起色和發(fā)展。女性角色的刻畫一直是藝術(shù)工作者的“嗜好”,中國兩千多年的封建統(tǒng)治和“唯小人與女子難養(yǎng)”的價值取向,使中國女性遭受了最殘酷、最野蠻的剝削和壓迫。隨著辛亥革命的槍聲,西方自由平等思想的傳入、女性解放運(yùn)動的興起,一些具有“革命精神”女性擺脫家庭的束縛、追求美好的愛情。正是因為這個趨勢造就了中國女性形象在文學(xué)及音樂作品中頻繁出現(xiàn)。而《原野》中的花金子和《雷雨》中的周繁漪便是這些女性形象的縮影。歌劇《原野》與《雷雨》被譽(yù)為優(yōu)秀的中國原創(chuàng)歌劇。雖兩部歌劇的腳本出自曹禺先生之手,但是兩部歌劇的女主人公金子與繁漪卻向觀眾展現(xiàn)出完全不一樣的性格特點(diǎn)。歌劇《原野》中的金子是一個農(nóng)村少婦,她嫵媚動人、野性十足。歌劇《雷雨》中的繁漪是個出生貴族家庭的名門淑嬡,她知書達(dá)理、通識大體。她倆曾今都是單純姑娘,都嫁入了“豪門”,都經(jīng)歷了一段痛苦的婚姻……筆者用一個聲樂碩士僅有的研究能力,從學(xué)習(xí)的視角比較金子和繁漪戲劇、音樂形象的異同,力求還原他們?nèi)诵缘谋驹婺�。全文由引言、五個章節(jié)和結(jié)語構(gòu)成：第一章分為兩節(jié),第一節(jié)主要對腳本作家曹禺先生身平與代表作品簡單介紹,對話劇版《原野》、《雷雨》的創(chuàng)作背景、戲劇內(nèi)容進(jìn)行簡單講解,以及根據(jù)曹禺先生原裝而改編的電影、電視劇、京劇等其他演繹版本進(jìn)行整理。第二節(jié)歌劇版《原野》和《雷雨》的創(chuàng)作背景簡單說明,分別對兩部歌劇的曲作者金湘和莫凡的身平經(jīng)歷、主要作品以及創(chuàng)作歌劇的感想進(jìn)行簡單的梳理介紹。第二部章分別對歌劇《原野》和《雷雨》的創(chuàng)作背景、劇情概要以及音樂風(fēng)格簡單歸納,并為之后的論述進(jìn)行理論鋪墊。第三章從金子和繁漪戲劇形象的異同處為切入點(diǎn),根據(jù)戲劇原著與歌劇腳本對金子和繁漪從家庭背景、家庭教育、社會地位、性格特征等多方面多角度得到綜合比較分析,比較出金子和繁漪音樂形象的相同點(diǎn)與不同點(diǎn)。第四章對比金子和繁漪的音樂形象之異同,并深入地剖析了金子與繁漪的詠嘆調(diào)。第五章是筆者演唱金子和繁漪的詠嘆調(diào)時的一點(diǎn)心得與體會,本章分別從對聲樂教學(xué)的思考、發(fā)展中國原創(chuàng)歌劇、重視演唱中國聲樂作品和“走出去、引進(jìn)來”四個方面闡述了對中國歌劇發(fā)展的一點(diǎn)思考和建議。
[Abstract]:The art of opera came to China from the beginning of the last century. After nearly a century of inheritance and development in China, the opera has formed the original opera with Chinese characteristics. In the efforts of several generations of composers, some outstanding Chinese original operas such as "white haired woman >" "Jiang Jie >", "the daughter of the party" were produced. In Mao Zedong's Symposium of literary and Art Symposium in Yanan Under the guidance of the thought, the Chinese opera has a new color and development. The portrayal of the female role has always been a "hobby" for the artists. China's feudal rule for more than two thousand years and the value orientation of "the only small man and the women" have made the Chinese women suffer the cruelest, most wild exploitation and oppression. The spread of the thought of free and equal, the rise of the women's liberation movement, some women with "revolutionary spirit" get rid of the shackles of the family and pursue a good love. It is this trend that makes the Chinese female image appear frequently in literary and musical works. The opera < original field > and < thunder rain > is known as the excellent Chinese original opera. Although the script of the two operas came from Mr. Cao Yu's hand, the heroine of the two operas, gold and Fan Yi, showed a completely different character to the audience. The Jin Zi in the opera "the field" is a young woman in the countryside, she is charming and moving. The opera < thunderstorm > the Fan Yi in the thunderstorm is a noble family of the birth of the noble family. She has been a simple girl, both were married to the "big door", all experienced a painful marriage. I use a master of vocal music research ability, from the perspective of learning to compare gold and fan plays, music shape. The first chapter is divided into two sections: the first chapter is divided into two sections. The first section is a brief introduction to the script writer, Mr. Cao Yu's body leveling and the representative works, the dialogue drama edition < original field > the thunderstorm > the creation background, the dramatic content of the drama, and Mr. Cao Yu, according to Mr. Cao Yu. The original and adapted films, TV dramas, Beijing Opera and other deductive editions are arranged. The creation background of the second section of the opera "wild >" and "Thunderstorm >" is simply explained, and the personal experience of the two operas Jin Xiang and Mo Fan, the main works and the feelings of the creation operas are briefly introduced. The second chapters are respectively on the opera < The third chapter, from the similarities and differences of the drama image of gold and Fan Yi, is the breakthrough point, which is based on the family background, family education, social status and character characteristics of gold and Fan Yi according to the original and opera scripts. The fourth chapter compares the similarities and differences of the music image of gold and Fan Yi. It compares the similarities and differences between the music image of gold and Fan Yi, and deeply analyzes the arias of gold and Fan Yi. The fifth chapter is the experience and experience of the author's singing of gold and Fan Yi, and this chapter is from the sound of the sound. The thinking of music teaching, the development of Chinese original opera, the emphasis on singing Chinese vocal music works and "going out and introducing" are the four aspects of the development of Chinese opera.
【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】：2015
【分類號】：J822;J617.2

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本文編號：2074659