【摘要】：意大利偉大的歌劇作曲家普契尼是西方歌劇史上最后一位偉大的作曲家，他創(chuàng)作的歌劇《圖蘭朵》有著不息的生命力。歌劇中的著名唱段至今活躍在聲樂(lè)舞臺(tái)上。他創(chuàng)作的旋律優(yōu)美、富有感染力，他創(chuàng)作的歌劇追求耳目一新的新鮮感、不拘泥與以往的內(nèi)容和形式，是一位有創(chuàng)造力的作曲家。他善于描寫愛情的主題、善于刻畫女性的美，他的歌劇不少是以女主人公的名字命名的，《圖蘭朵》也不例外。 本論文從四個(gè)方面來(lái)論述這部歌劇的戲劇發(fā)展和人物形象的刻畫。一是把《圖蘭朵》的創(chuàng)作還原到作曲家創(chuàng)作的年代，分析這部歌劇創(chuàng)作年代的人們的心理狀態(tài)，來(lái)分析作曲家選取這一題材的原因，為下面深入的分析這部作品做鋪墊；二是分析歌劇中的戲劇發(fā)展和人物形象的刻畫，，對(duì)這兩點(diǎn)的分析來(lái)看作曲家是如何通過(guò)音樂(lè)的手段來(lái)刻畫人物形象的；三是音樂(lè)與戲劇的相互關(guān)系，通過(guò)對(duì)歌劇中樂(lè)隊(duì)、合唱、獨(dú)唱等多種元素的綜合運(yùn)用的分析來(lái)看作曲家如何渲染場(chǎng)面的氣氛；通過(guò)對(duì)具體唱段的分析來(lái)看音樂(lè)與劇情是如何緊密結(jié)合的，看它們?nèi)绾谓沂救宋飪?nèi)心的矛盾和人物之間的矛盾、刻畫人物的性格，如何用音樂(lè)和戲劇的相互推動(dòng)激化矛盾以推動(dòng)故事的發(fā)展，深化人物的性格，彰顯和強(qiáng)化“真愛能夠戰(zhàn)勝一切”這一主題的；四是作曲家在《圖蘭朵》中異國(guó)情調(diào)的運(yùn)用，通過(guò)對(duì)中國(guó)曲調(diào)的引用和模仿來(lái)表現(xiàn)故事發(fā)生地應(yīng)有的特點(diǎn)，烘托格局的異國(guó)氣氛，通過(guò)場(chǎng)面上有中國(guó)特點(diǎn)的皇宮閣樓、小和尚等元素給歌劇帶來(lái)新鮮感。筆者擬通過(guò)對(duì)這四點(diǎn)的分析來(lái)揭示作曲家是如何用在歌劇中推動(dòng)戲劇發(fā)展和塑造人物形象的、這部作品成為經(jīng)典之作的原因，以及我們應(yīng)該思考和從中學(xué)到的東西。
[Abstract]:Puccini, the great Italian opera composer, is the last great composer in the history of western opera. The famous choreography of opera is still active on the stage of vocal music. His melodies are beautiful and infectious, and his operas are creative composers who pursue fresh and fresh feelings and are not restricted to the contents and forms of the past. He is good at describing the theme of love and the beauty of women. Many of his operas are named after the heroine, and Turandot is no exception. This thesis discusses the development of the opera and the portrayal of the characters from four aspects. The first is to restore the creation of Turandot to the era of composer creation, to analyze the psychological state of people in this opera creation era, to analyze the reason why the composer chose this theme, and to lay the groundwork for the following in-depth analysis of this work; The second is to analyze the development of drama and the portrayal of characters in opera, and to analyze these two points, to see how the composer portrays the characters by means of music; third, the relationship between music and drama, through the band and chorus in the opera, From the analysis of the comprehensive application of various elements, such as solos, to see how the composer can render the atmosphere of the scene; through the analysis of the specific choreography, we can see how closely the music and the plot are combined. See how they reveal the contradictions within the characters and the contradictions between the characters, portray the character of the characters, how to use the mutual promotion of music and drama to intensify the contradictions in order to promote the development of the story and deepen the character of the characters. To highlight and strengthen the theme of "true love can overcome everything"; fourth, the composer's use of exotic sentiment in Turandot, through the citation and imitation of Chinese tunes, to express the characteristics of the place where the story takes place. Setting off the exotic atmosphere of the pattern, through the Chinese characteristics of the imperial attic, young monks and other elements to bring new elements to the opera. Through the analysis of these four points, the author intends to reveal how composers use opera to promote the development of drama and portray characters, the reason why this work has become a classic, and what we should think about and learn from it.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J832

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