以“巧巧桑”形象为例论普契尼歌剧人物形象塑造的主要艺术特征
发布时间：2018-07-29 13:49
【摘要】：贾科莫.普契尼（G.Puccini,1858~1924），是十九世纪末二十世纪初意大利最后一位歌剧作曲家，也是继罗西尼和威尔第之后意大利最著名的歌剧作曲家。他不朽的歌剧作品至今仍在世界各大歌剧院和音乐厅中幕幕的上演着。在普契尼一生的歌剧创作过程中，创作了三部具有异国情调的歌剧---西方拉丁风格的《西部女郎》、东方风格的《蝴蝶夫人》和《图兰朵》。在这三部异国风情的歌剧中，日本优雅风格的《蝴蝶夫人》和中国尚美风格的《图兰朵》都具有神秘的东方色彩和情调。普契尼用自己独特敏锐的眼光和视角，为西方人呈现了两幅具有东方神秘色彩、却又各具特色的画卷---日本的“浮世绘”、中国的“水墨画”。本文主要以歌剧《蝴蝶夫人》中的女主人公“巧巧桑”为切入点，对其进行全面、详细的人物形象分析，通过人物形象的塑造来寻求“巧巧桑”悲剧结局的根本原因以及普契尼在刻画“巧巧桑”悲情蝴蝶这一女性形象时所采取的戏剧音乐手法，从而为观众在欣赏这部歌剧时可以更好的在听觉和视觉的角度和效果上感受女主人公的内情情感变化，更好的使观众融入剧情的发展中，达到与歌剧演员的共鸣。正文部分由六个章节组成，每个章节之间环环呼应，，丝丝相扣。用文学和音乐的双重角度来深层剖析和诠释“巧巧桑”的人物形象以及人物的性格特征。
[Abstract]:Giacomo. G. Puccini (1858 / 1924) is the last Italian opera composer in the late 19th century and early 20th century, and the most famous opera composer in Italy after Rosini and Verdi. His immortal operas are still performed in the screens of the world's major opera houses and concert halls. In the course of Puccini's life, he wrote three exotic operas: the Western Latino, the Oriental Lady Butterfly and the Turandot. In these three exotic operas, "Lady Butterfly" in Japanese elegant style and "Turandot" in Chinese style have mysterious oriental color and sentiment. Puccini, with his unique keen vision and visual angle, presents two paintings with oriental mysterious color, but each with their own characteristics-Japanese "Archaeological painting" and "Chinese Ink painting". This article mainly takes the heroine "Qiaoqiao Mulberry" in the opera "Lady Butterfly" as the breakthrough point, carries on the comprehensive, detailed character image analysis to it, Through the portrayal of the characters to seek the root cause of the tragic ending of Qiaoqiao Sang and the dramatic musical techniques adopted by Puccini in portraying the female image of Qiaoqiao Sang, a sad butterfly. In order to appreciate this opera, the audience can better feel the inner emotional changes of the heroine in the angle and effect of hearing and vision, and better make the audience enter into the development of the plot, and reach the resonance with the opera actors. The text is composed of six chapters, each of which is looped and linked. This paper analyzes and interprets the characters and characters of Qiaoqiao Sang from the dual angles of literature and music.
【学位授予单位】：江西师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J832
本文编号：2152874
[Abstract]:Giacomo. G. Puccini (1858 / 1924) is the last Italian opera composer in the late 19th century and early 20th century, and the most famous opera composer in Italy after Rosini and Verdi. His immortal operas are still performed in the screens of the world's major opera houses and concert halls. In the course of Puccini's life, he wrote three exotic operas: the Western Latino, the Oriental Lady Butterfly and the Turandot. In these three exotic operas, "Lady Butterfly" in Japanese elegant style and "Turandot" in Chinese style have mysterious oriental color and sentiment. Puccini, with his unique keen vision and visual angle, presents two paintings with oriental mysterious color, but each with their own characteristics-Japanese "Archaeological painting" and "Chinese Ink painting". This article mainly takes the heroine "Qiaoqiao Mulberry" in the opera "Lady Butterfly" as the breakthrough point, carries on the comprehensive, detailed character image analysis to it, Through the portrayal of the characters to seek the root cause of the tragic ending of Qiaoqiao Sang and the dramatic musical techniques adopted by Puccini in portraying the female image of Qiaoqiao Sang, a sad butterfly. In order to appreciate this opera, the audience can better feel the inner emotional changes of the heroine in the angle and effect of hearing and vision, and better make the audience enter into the development of the plot, and reach the resonance with the opera actors. The text is composed of six chapters, each of which is looped and linked. This paper analyzes and interprets the characters and characters of Qiaoqiao Sang from the dual angles of literature and music.
【学位授予单位】：江西师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J832
【参考文献】
相关硕士学位论文 前4条
1 冷静;普契尼歌剧中的东方元素研究[D];河南大学;2011年
2 李晓艳;论普契尼歌剧《蝴蝶夫人》中巧巧桑的悲剧形象塑造[D];新疆师范大学;2007年
3 王周悦;论普契尼歌剧《贾尼·斯基基》中各角色的形象塑造[D];华东师范大学;2010年
4 陈春华;论普契尼歌剧中凋零的“女人花”[D];西安音乐学院;2010年
本文编号：2152874
本文链接：https://www.wllwen.com/wenyilunwen/xijuwudaolunwen/2152874.html
