论歌剧《野火春风斗古城》中杨晓东人物形象塑造

发布时间：2018-05-15 05:40

本文选题：歌剧 + 《野火春风斗古城》　；参考：《山东师范大学》2012年硕士论文

【摘要】：中华民族有着悠久的音乐戏剧传统，从汉代的百戏、隋唐的歌舞大曲到宋元时期的杂剧和南戏以及后来的京剧，都是音乐和戏剧相结合的产物。真正意义上的第一部民族歌剧是1945年出演的《白毛女》，它是中国歌剧史上一部具有里程碑意义的作品，随后《星星之火》、《小二黑结婚》、《江姐》、《伤逝》、《原野》等歌剧作品大量涌现，，中国歌剧艺术逐步找到了自己独特的发展道路，歌剧艺术蓬勃发展。《野火春风斗古城》最早以文学的形式出现，随后被改编为电影、电视剧，其剧情可以说是家喻户晓。2005年，在纪念抗日战争胜利暨世界反法西斯战争胜利60周年的日子里，总政歌剧团将其改编成歌剧并成功演出。剧作家精心选取小说主要情节，表现古城保定当年的地下抗日斗争故事。在音乐上，以河北地区的戏曲、曲艺、民歌为主要素材，兼以晋、鲁、豫地区的音乐和日本音乐素材，融合上西洋现代音乐的强烈尖锐的音响和丰富的和声，综合运用美声、民族、通俗三种唱法，共同为整部歌剧服务。本文选取《野火春风斗古城》中杨晓东人物的形象塑造作为研究对象，通过对歌剧《野火春风斗古城》的相关资料以及歌剧理论的研读，把握歌剧《野火春风斗古城》的创作背景和艺术特征，更加深入地把握杨晓东的人物形象，并通过对其主要唱段的研究，为歌唱者成功塑造杨晓东人物形象提出可借鉴的观点。本文撰写主要由三个章节构成。第一章首先介绍歌剧《野火春风斗古城》剧情的历史渊源和创作背景，并从鲜明的时代性、强烈的戏剧性、情感的复杂性和唱腔特点的多元性四个方面论述其艺术特征。第二章着重分析杨晓东的人物英雄形象，从剧中人物角色和人物性格两个方面展开论述，把握杨晓东对党忠诚、性情成熟、为了革命事业不惜牺牲个人利益的人物特点。第三章重点论述杨晓东人物唱段得分析及演唱处理。本章分为两节，第一节：杨晓东两首咏叹调的分析及演唱处理。对抒情性咏叹调《抖落征尘抬眼望》和戏剧性咏叹调《不能尽孝愧对娘》分别从音乐本体、音乐形象和人物心理三个方面深度剖析，并对这两首作品的演唱处理发表自己的观点。第二节：杨晓东三首重唱唱段的分析及演唱处理，通过对《人气》、《开药方》和《对峙》这三首重唱唱段的剧情背景分析、音乐本体分析，结合重唱艺术的特点，对它们的演唱处理提出可借鉴性的意见。最后得出结语：《野火春风斗古城》是新时期一部优秀的民族歌剧，不仅在题材上，而且在音乐以及唱腔特点上都具有自己独特的特点。杨晓东作为剧中主角，始终代表着稳定成熟、忠诚的英雄人物形象，演唱其唱段，不但要综合把握具体唱段的音乐本体、剧情背景、情感定位，而且要时刻体现出他的英雄人物形象。
[Abstract]:The Chinese nation has a long tradition of music and drama, from the hundred operas in the Han Dynasty, the songs and dances in the Sui and Tang dynasties to the zaju and the southern operas in the Song and Yuan dynasties, and later Beijing Opera, all of which are the products of the combination of music and drama. The first national opera in the real sense was the Whitehaired woman in 1945. It was a landmark in the history of Chinese opera. Then, "Spark", "Square Black Marriage", "Jiangjie", "death", "Field" and other opera works emerged in large numbers. Chinese opera art gradually found its own unique development path, and opera art flourished. "the Old City of Wild Fire and Spring fighting" first appeared in the form of literature and was subsequently adapted into films and TV dramas, the plot of which can be said to be a household name. In 2005, on the day marking the 60th anniversary of the victory of the Anti-Japanese War and the World Anti-Fascist War, The general government opera troupe adapted it into an opera and performed successfully. The playwright meticulously selects the main plot of the novel to show the story of the underground anti-Japanese struggle in Baoding, the ancient city. In music, Hebei opera, quyi, folk songs as the main material, and the Jin, Shandong, Henan and Japanese music materials, the integration of western modern music strong sharp sound and rich harmony, comprehensive use of beautiful sound, The nation, popular three kinds of singing, together for the whole opera service. In this paper, the image of Yang Xiaodong in the Old City of Wild Fire Spring Wind Dou is chosen as the research object, and through the study of the relevant materials and the opera theory of the opera "Wild Fire Spring Wind fighting Ancient City", In order to grasp the background and artistic features of the opera "the Old City of Wild Fire and Spring fighting", to grasp the character image of Yang Xiaodong more deeply, and through the study of its main choreography, the author puts forward some ideas that can be used for reference for the singer to successfully portray the character image of Yang Xiaodong. This article is composed of three chapters. The first chapter first introduces the historical origin and creative background of the opera "Wild Fire and Spring fighting Ancient City", and discusses its artistic characteristics from four aspects: distinct epoch, intense drama, emotional complexity and multiplicity of singing characteristics. The second chapter focuses on the analysis of Yang Xiaodong's hero image, from the two aspects of character and character, to grasp the character characteristics of Yang Xiaodong loyal to the party, mature temperament, at the expense of personal interests for the cause of revolution. The third chapter focuses on the analysis and processing of Yang Xiaodong characters. This chapter is divided into two sections, the first section: Yang Xiaodong two arias analysis and singing processing. To the lyric aria "buffeting the dust and raising the eyes" and the dramatic aria "can't be filial piety to shame", respectively from the music ontology, the music image and the character psychology three aspects deep analysis, And the two pieces of singing processing to express their views. The second section: the analysis and the singing processing of the Yang Xiaodong's three recitals, through the analysis of the plot background, the music Noumenon analysis, and the characteristics of the duet art of "popular", "prescription" and "confrontation". The author puts forward some suggestions on how to deal with their singing. Finally, the conclusion is drawn: "the Old City of Wild Fire and Spring fighting" is an excellent national opera in the new period, which has its own unique characteristics not only in subject matter, but also in music and singing. As the protagonist of the play, Yang Xiaodong always represents a stable, mature, loyal hero image, singing its track, not only to comprehensively grasp the music itself, plot background, emotional positioning, And always reflect his hero image.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J822

【参考文献】