【摘要】：歌劇《野火春風(fēng)斗古城》是一部史詩性軍事題材戲劇作品,2005年,總政歌劇團(tuán)在紀(jì)念抗日戰(zhàn)爭勝利暨世界反法西斯戰(zhàn)爭勝利60周年之際,推出了這部歌劇,并在北京首演。歌劇《野火春風(fēng)斗古城》的創(chuàng)作者們,從現(xiàn)代視角、注入現(xiàn)代人的思想、用現(xiàn)代人的表達(dá)方式詮釋了這部紅色經(jīng)典,通過女大學(xué)生陳瑤與爺爺穿越時(shí)空的情景對(duì)話,引領(lǐng)人們回顧那段國難當(dāng)頭,全民奮起抗戰(zhàn)的崢嶸歲月。 歌劇《野火春風(fēng)斗古城》在創(chuàng)作上不斷地探索創(chuàng)新,在角色塑造上,它打破了以往歌劇中角色結(jié)構(gòu)的不平衡關(guān)系,采用多位男女、正反角色擔(dān)任主演,角色與戲份視同一律,不相上下；從歌唱的角度來講,在唱法上,歌劇《野火春風(fēng)斗古城》采用了美聲、民族、通俗三種唱法；同時(shí),歌劇《野火春風(fēng)斗古城》還將現(xiàn)代電聲樂器運(yùn)用于管弦樂隊(duì)中,使歌劇的表現(xiàn)力和感染力大大增強(qiáng)。這些新的創(chuàng)作思想與創(chuàng)作手段都為它上演后的成功打下了堅(jiān)實(shí)的基礎(chǔ)。 本文在第一章詳盡地介紹了歌劇《野火春風(fēng)斗古城》十四場的故事情節(jié),并說明了其創(chuàng)作背景和創(chuàng)作意義。第二章通過對(duì)楊母在歌劇中的四個(gè)唱段《思兒》、《玉鐲》、《戴上玉鐲叫聲娘》和《娘在那片云彩里》的旋律、結(jié)構(gòu)、音樂特點(diǎn)和演唱的分析,來研究歌劇中塑造的楊母形象。第三章通過前面的分析對(duì)楊母形象進(jìn)行總結(jié),從中挖掘唱段中所體現(xiàn)的中國傳統(tǒng)品德和楊母身上綻放的偉大的女性美。最后對(duì)本文作出總結(jié),并具體闡述了歌劇《野火春風(fēng)斗古城》的創(chuàng)作和本文寫作所引發(fā)的現(xiàn)實(shí)思考。 歌劇《野火春風(fēng)斗古城》是歌劇史上的一部經(jīng)典之作,我們應(yīng)該珍視它,用心地欣賞、研究它,讓它永久地流傳下去!
[Abstract]:The opera Wild Fire Spring Wind fighting Ancient City is a historical and poetic military drama. In 2005, the General political Opera Troupe launched the opera on the occasion of commemorating the 60th anniversary of the victory of the War of Resistance against Japan and the victory of the World Anti-Fascist War, and premiered in Beijing. The creators of the opera Wild Fire Spring Wind fighting the Ancient City, from the modern point of view, infused the thought of modern people and interpreted this red classic with the expression of modern people. Through the situational dialogue between Chen Yao, a female college student, and her grandfather through time and space, they led people back to the eventful years of the national disaster and the whole people's rise to the War of Resistance against Japan. The opera "Wild Fire Spring Wind Dou Ancient City" constantly explores and innovates in its creation. In the role shaping, it breaks the unbalanced relationship of the character structure in the past opera, adopts many men and women, the positive and negative characters act as the starring, the role and the play are the same, equal to the same, from the singing point of view, in the singing, the opera "Wild Fire Spring Wind Dou Ancient City" adopts three kinds of singing methods: Bel Canto, nationality and popular singing. At the same time, the opera Wild Fire Spring Wind Dou Ancient City also applies modern electroacoustic instruments to orchestra, which greatly enhances the expression and appeal of opera. These new creative ideas and creative means have laid a solid foundation for its success. In the first chapter, this paper introduces in detail the plot of the fourteen scenes of the opera Wild Fire Spring Wind Dou Ancient City, and explains its creative background and significance. The second chapter studies the image of Yang Mu portrayed in opera by analyzing the melody, structure, musical characteristics and singing of Yang Mu's four singing passages in opera, namely, "thinking", "Jade Bangle", "wearing Jade Bangle called Niang" and "Niang in that Cloud". The third chapter summarizes the image of Yang Mu through the previous analysis, and excavates the Chinese traditional moral character and the great female beauty embodied in the singing passage. Finally, this paper makes a summary, and expounds the creation of the opera Wild Fire Spring Wind Dou Ancient City and the realistic thinking caused by the writing of this paper. The opera "Wild Fire Spring Wind Dou Ancient City" is a classic in the history of opera. We should cherish it, appreciate it with your heart, study it, and let it pass on forever!
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J822;J617.2

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本文編號(hào)：2500115