【摘要】：歌劇,作為一門以歌唱和音樂來交代和表達(dá)劇情的西方舞臺表演藝術(shù),既綜合了文學(xué)和音樂,又包含劇場的典型元素(如背景、服裝、表演等),與我國的戲曲藝術(shù)有異曲同工之妙。而在西方歌劇當(dāng)中,往往悲劇性結(jié)局或以悲劇作為主要線索的作品更加經(jīng)典。眼淚恒久遠(yuǎn),悲劇永流傳,它在演唱者的表演過程中最具有表現(xiàn)力,它在觀眾心中更容易留下不可磨滅的印記。筆者通過對西方歌劇文獻(xiàn)的檢索,發(fā)現(xiàn)大多數(shù)文章是通過文學(xué)的角度去分析悲劇元素,還有一部分是從音樂史理論的角度去分析詠嘆調(diào)的音樂結(jié)構(gòu),而學(xué)院派聲樂教學(xué)又大多以古典、浪漫主義時期,如莫扎特、羅西尼、威爾第、普契尼的作品為重點(diǎn),對于亨德爾、巴赫等巴洛克時期作曲家作品的演唱較少。因此,本論文選取了兩段具有代表性的巴洛克時期女高音詠嘆調(diào)《我哭泣,為我的命運(yùn)》和《哪里去了,美好時光》作研究目標(biāo),研究戲劇中的悲劇音樂元素。對人物塑造的影響,從戲劇性和音樂性角度,在分析女高音詠嘆調(diào)的學(xué)習(xí)、演唱、表現(xiàn)等方面,通過歌劇中戲劇性與音樂性的悲劇元素的融合,進(jìn)行深入剖析,從而達(dá)到更好地演唱歌劇作品,提高表演素養(yǎng)的目的。
[Abstract]:Opera, as a kind of Western stage performing art which expresses the plot by singing and music, not only integrates literature and music, but also contains the typical elements of theatre (such as background, costume, performance, etc.), which is different from the traditional Chinese opera. In western opera, tragic ending or tragedy is the main clue. Tears are eternal, tragedies are perpetual, they are the most expressive in the performance of the singer, and they are easier to leave indelible imprint in the hearts of the audience. From the perspective of historical theory to analyze the music structure of aria, and the academician vocal music teaching is mostly classical, romantic period, such as Mozart, Rossini, Verdi, Puccini works as the focus, for Handel, Bach and other Baroque composers to sing less. The soprano arias of Locke's period < I Cry, For My Fate > and < Where's Gone, Good Time > were studied to study the tragic musical elements in drama. The influence on the characterization was analyzed from the dramatic and musicality angles, including the study, singing and expression of soprano arias, through the drama and musicality tragedy in opera. The fusion of opera elements is analyzed in depth so as to achieve the purpose of better singing opera works and improving the performance quality.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J617.2

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