【摘要】： 本文以中國(guó)京劇《圖蘭朵公主》和西方歌劇《圖蘭朵》這兩種不同戲劇形式所表現(xiàn)的同一作品為研究對(duì)象,在現(xiàn)有研究的基礎(chǔ)上,從戲劇理念、視覺(jué)、聽(tīng)覺(jué)等三個(gè)方面詳盡深入地討論了兩個(gè)作品的異同,并探討其表演及音樂(lè)上的技術(shù)特點(diǎn)和藝術(shù)特色,期望對(duì)中國(guó)京劇和西方歌劇兩種藝術(shù)的審美表現(xiàn)有較深認(rèn)識(shí),對(duì)中國(guó)戲曲和外國(guó)歌劇創(chuàng)作中的相互借鑒和融合具有積極意義。 全文分為四個(gè)章節(jié): 引言部分主要對(duì)兩劇的所描寫故事的來(lái)源情況進(jìn)行了說(shuō)明,并分別針對(duì)兩劇的社會(huì)背景、創(chuàng)作經(jīng)過(guò)進(jìn)行了詳盡的闡述,是論文對(duì)象的基本描述,也是全論文的基礎(chǔ)。第一章從情節(jié)觀和戲劇結(jié)構(gòu)兩個(gè)方面探討了兩劇整體結(jié)構(gòu)形態(tài)以及在戲劇理念上的差別,指出京劇的“賞玩性特點(diǎn)”以及歌劇對(duì)“情節(jié)”的重視;并從戲劇結(jié)構(gòu)方面分析了京劇《圖蘭朵公主》和歌劇《圖蘭朵》各自的結(jié)構(gòu)特點(diǎn)。第二章從視覺(jué)角度,論述了兩種藝術(shù)在表演特點(diǎn)、舞臺(tái)道具、服裝造型上的不同,指出京劇“舞蹈化”、“程式化”、“寫意化”的特點(diǎn)和歌劇“寫實(shí)性”,追求模仿與再現(xiàn)的特點(diǎn)。第三章從聽(tīng)覺(jué)角度對(duì)比了兩種藝術(shù)在歌唱和器樂(lè)方面的不同,討論了兩種藝術(shù)在唱法及樂(lè)隊(duì)使用方面的差異。 全文最后對(duì)兩劇比較的整體情況進(jìn)行了總結(jié),并就它們對(duì)中國(guó)戲曲、外國(guó)歌劇創(chuàng)作的積極意義提出了自己的見(jiàn)解。
[Abstract]:This paper takes the same works of Chinese Beijing Opera Princess Tulando and Western Opera Tulando as the research object, on the basis of the existing research, from the drama idea, the vision, the article takes the same work which is expressed in the two different drama forms of the Chinese Beijing opera "Princess Tulando" and the western opera "Tulando" as the research object. The similarities and differences of the two works are discussed in detail in three aspects, and the technical and artistic characteristics of their performances and music are discussed in detail. It is expected to have a deeper understanding of the aesthetic expression of the two kinds of art, Chinese Peking Opera and Western Opera. It is of positive significance to draw lessons from and merge with each other in Chinese opera and foreign opera creation. The full text is divided into four chapters: the introduction mainly explains the origin of the stories described in the two dramas, and respectively, according to the social background of the two dramas, the creation is described in detail, which is the basic description of the object of the paper. It is also the basis of the whole paper. The first chapter discusses the overall structure of the two plays and the differences in drama ideas from the two aspects of situational view and drama structure, and points out the "appreciative characteristics" of Beijing Opera and the importance that opera attaches to "plot". From the aspect of drama structure, this paper analyzes the structural characteristics of Princess Tulando and opera Tulando in Beijing Opera. From the visual point of view, the second chapter discusses the differences between the two kinds of art in performance characteristics, stage props and clothing modeling, and points out the characteristics of "dancing", "stylized" and "freehand brushwork" in Beijing Opera and the opera "realism". Pursue the characteristics of imitation and reproduction. The third chapter compares the differences between the two kinds of art in singing and instrumental music from the perspective of hearing, and discusses the differences between the two kinds of art in singing and band use. Finally, the paper summarizes the overall situation of the comparison between the two plays, and puts forward their own views on their positive significance to Chinese opera and foreign opera creation.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：J832;J821

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 程秀麗;普契尼歌劇《圖蘭朵》的劇本分析[D];東北師范大學(xué);2012年

2 歐琳露;昆劇六旦與西洋歌劇輕型抒情女高音演唱風(fēng)格的比較[D];華南理工大學(xué);2012年

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本文編號(hào)：2477385