新旧更迭中的声辞关系——以《黄河大合唱》为例

发布时间：2018-01-30 19:37

本文关键词： 民族形式声辞关系《黄河大合唱》康塔塔　出处：《中国现代文学研究丛刊》2017年08期 　论文类型：期刊论文

【摘要】：音乐戏剧的民族形式并非横空出世,而是20世纪的爱国青年在"中国向何处去"的"世纪之问"中自觉地学习西方,批判地继承本民族文化的共识。每一部音乐戏剧作品在文、乐、曲、剧各自为政的当代史论中地位不同,但它们对形式变革的积极作用都值得肯定。在古今、中西、花雅的立体框架中梳理音乐戏剧形式的流变,才能更好地理解20世纪中国红色歌剧的实践。冼星海开创性地利用了"康塔塔"来表现抗战题材,开启了延安"洋瓶装中酒"的音乐戏剧形式。本文将结合新民主主义的时势,考察20世纪漫长的文化革命在过渡时期产生的过渡形式,以《黄河大合唱》为例,追溯西方形式在陕北革命根据地的流变,分析中西混编的观演在新旧更迭的时势中形成的经验和教训。
[Abstract]:The national form of musical drama is not the birth of the world, but in 20th century, patriotic youth consciously learn from the West in "the question of where China is going". Critically inheriting the consensus of the national culture. Each musical drama works in the text, music, music, drama in the contemporary history theory, but they are worthy of recognition of the positive role of formal change, in ancient and modern times. In order to better understand the practice of Chinese red opera in 20th century, Xian Xinghai made use of "Kangta" to express the theme of the War of Resistance against Japan by combing the evolution of musical drama form in the three-dimensional framework of the Chinese and Western, Hua Ya and Hua Ya, so as to better understand the practice of the Chinese red opera in 20th century. It opens the musical and dramatic form of Yanan's "wine in foreign bottle". This article will examine the transitional form of the long cultural revolution in 20th century, in the light of the situation of new democracy. Taking "the Yellow River Chorus" as an example, this paper traces the evolution of western forms in the revolutionary base areas of Northern Shaanxi, and analyzes the experience and lessons of the mixed Chinese and Western views in the new and old changes.
【作者单位】：中央戏剧学院戏剧文学系;清华大学人文学院;
【分类号】：J822
【正文快照】： 一 20世纪初,中国的思想文化界经历了西学东渐。由欧洲大陆传来的透视布景、和声对位作曲法和一整套立体的“再现”系统传播到了港口和租界,冲击了各领域的传统艺术形式。“歌剧”这一语词首先在日本被译为汉字并传入中国,伴随而来的是,“京剧”成为了“旧戏”,沦为落后的象

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