“女性悲剧色彩”在中国民族歌剧创作中运用及其意义——以歌剧《白毛女》、《江姐》为例

发布时间：2018-08-24 18:31

【摘要】：人类社会的发展经历了由"母系社会"到"父系社会"发展的重大变革,在这一变革过程中,女性由原来维系社会发展的主体地位演变为被统治、压迫的地位,成为男性统治下的"最弱势的群体"。但女性所代表的"温柔、善良、贤惠、顽强"以及"博大的母爱精神"却没有因社会的变革而消失。相反,女性这一弱势群体在为了追求自由、民主、幸福、婚姻,不甘心做男性社会"附属和奴役"的斗争中,所表现出来的那种艰难、无助、悲惨、凄凉,更能博得在人类社会不断向文明社会发展过程中,人们在对美好未来憧憬向往这一思维下的"同情性和社会效应"。正是在这一社会现象的驱使下,无论是西洋歌剧的创作还是中国民族歌剧的创作,多把"女性悲剧色彩"作为歌剧创作的主色调,唯一不同的则是由于东西方"意识形态差异",歌剧的"悲剧色彩"在歌剧创作中运用的思维、手法、侧重面不同而已。
[Abstract]:The development of human society has experienced a great change from "matrilineal society" to "patrilineal society". In the process of this transformation, women have changed from the status of mainstay of social development to that of being ruled and oppressed. To become the "most vulnerable group" under male rule. However, the tenderness, kindness, tenacity and the spirit of maternal love represented by women did not disappear because of social change. On the contrary, women as a vulnerable group in the struggle for freedom, democracy, happiness, marriage, and not willing to be "subordinated and enslaved" in a male society show the kind of hardship, helplessness, misery and desolation. In the process of the development of human society to civil society, people yearn for the "sympathy and social effect" under the thought of looking forward to a better future. Driven by this social phenomenon, whether Western opera creation or Chinese national opera creation, the "female tragedy" is regarded as the main tone of opera creation. The only difference is that due to the ideological differences between the East and the West, the "tragic color" of opera uses different thinking and techniques in opera creation.
【作者单位】：集宁师范学院音乐系;
【分类号】：J822

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