中国歌剧《原野》《雷雨》中女主人翁风格形象对比研究

发布时间：2018-06-27 17:23

本文选题：中国歌剧 + 金子　；参考：《陕西师范大学》2015年硕士论文

【摘要】：歌剧艺术从上个世纪初传到中国,在中国历经了近一个世纪的传承发展,形成了中国特色的民族原创歌剧。在几代作曲人的努力创作中产生了例如《白毛女》、《江姐》、《党的女儿》等优秀的中国原创歌剧作品。在毛泽东《延安文艺座谈会》思想的指导下,中国歌剧事业有了新的起色和发展。女性角色的刻画一直是艺术工作者的“嗜好”,中国两千多年的封建统治和“唯小人与女子难养”的价值取向,使中国女性遭受了最残酷、最野蛮的剥削和压迫。随着辛亥革命的枪声,西方自由平等思想的传入、女性解放运动的兴起,一些具有“革命精神”女性摆脱家庭的束缚、追求美好的爱情。正是因为这个趋势造就了中国女性形象在文学及音乐作品中频繁出现。而《原野》中的花金子和《雷雨》中的周繁漪便是这些女性形象的缩影。歌剧《原野》与《雷雨》被誉为优秀的中国原创歌剧。虽两部歌剧的脚本出自曹禺先生之手,但是两部歌剧的女主人公金子与繁漪却向观众展现出完全不一样的性格特点。歌剧《原野》中的金子是一个农村少妇,她妩媚动人、野性十足。歌剧《雷雨》中的繁漪是个出生贵族家庭的名门淑嫒,她知书达理、通识大体。她俩曾今都是单纯姑娘,都嫁入了“豪门”,都经历了一段痛苦的婚姻……笔者用一个声乐硕士仅有的研究能力,从学习的视角比较金子和繁漪戏剧、音乐形象的异同,力求还原他们人性的本原面目。全文由引言、五个章节和结语构成：第一章分为两节,第一节主要对脚本作家曹禺先生身平与代表作品简单介绍,对话剧版《原野》、《雷雨》的创作背景、戏剧内容进行简单讲解,以及根据曹禺先生原装而改编的电影、电视剧、京剧等其他演绎版本进行整理。第二节歌剧版《原野》和《雷雨》的创作背景简单说明,分别对两部歌剧的曲作者金湘和莫凡的身平经历、主要作品以及创作歌剧的感想进行简单的梳理介绍。第二部章分别对歌剧《原野》和《雷雨》的创作背景、剧情概要以及音乐风格简单归纳,并为之后的论述进行理论铺垫。第三章从金子和繁漪戏剧形象的异同处为切入点,根据戏剧原著与歌剧脚本对金子和繁漪从家庭背景、家庭教育、社会地位、性格特征等多方面多角度得到综合比较分析,比较出金子和繁漪音乐形象的相同点与不同点。第四章对比金子和繁漪的音乐形象之异同,并深入地剖析了金子与繁漪的咏叹调。第五章是笔者演唱金子和繁漪的咏叹调时的一点心得与体会,本章分别从对声乐教学的思考、发展中国原创歌剧、重视演唱中国声乐作品和“走出去、引进来”四个方面阐述了对中国歌剧发展的一点思考和建议。
[Abstract]:The art of opera came to China from the beginning of the last century. After nearly a century of inheritance and development in China, the opera has formed the original opera with Chinese characteristics. In the efforts of several generations of composers, some outstanding Chinese original operas such as "white haired woman >" "Jiang Jie >", "the daughter of the party" were produced. In Mao Zedong's Symposium of literary and Art Symposium in Yanan Under the guidance of the thought, the Chinese opera has a new color and development. The portrayal of the female role has always been a "hobby" for the artists. China's feudal rule for more than two thousand years and the value orientation of "the only small man and the women" have made the Chinese women suffer the cruelest, most wild exploitation and oppression. The spread of the thought of free and equal, the rise of the women's liberation movement, some women with "revolutionary spirit" get rid of the shackles of the family and pursue a good love. It is this trend that makes the Chinese female image appear frequently in literary and musical works. The opera < original field > and < thunder rain > is known as the excellent Chinese original opera. Although the script of the two operas came from Mr. Cao Yu's hand, the heroine of the two operas, gold and Fan Yi, showed a completely different character to the audience. The Jin Zi in the opera "the field" is a young woman in the countryside, she is charming and moving. The opera < thunderstorm > the Fan Yi in the thunderstorm is a noble family of the birth of the noble family. She has been a simple girl, both were married to the "big door", all experienced a painful marriage. I use a master of vocal music research ability, from the perspective of learning to compare gold and fan plays, music shape. The first chapter is divided into two sections: the first chapter is divided into two sections. The first section is a brief introduction to the script writer, Mr. Cao Yu's body leveling and the representative works, the dialogue drama edition < original field > the thunderstorm > the creation background, the dramatic content of the drama, and Mr. Cao Yu, according to Mr. Cao Yu. The original and adapted films, TV dramas, Beijing Opera and other deductive editions are arranged. The creation background of the second section of the opera "wild >" and "Thunderstorm >" is simply explained, and the personal experience of the two operas Jin Xiang and Mo Fan, the main works and the feelings of the creation operas are briefly introduced. The second chapters are respectively on the opera < The third chapter, from the similarities and differences of the drama image of gold and Fan Yi, is the breakthrough point, which is based on the family background, family education, social status and character characteristics of gold and Fan Yi according to the original and opera scripts. The fourth chapter compares the similarities and differences of the music image of gold and Fan Yi. It compares the similarities and differences between the music image of gold and Fan Yi, and deeply analyzes the arias of gold and Fan Yi. The fifth chapter is the experience and experience of the author's singing of gold and Fan Yi, and this chapter is from the sound of the sound. The thinking of music teaching, the development of Chinese original opera, the emphasis on singing Chinese vocal music works and "going out and introducing" are the four aspects of the development of Chinese opera.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J822;J617.2

【参考文献】