歌剧《卡门》中埃斯卡米洛舞台实践研究
发布时间：2018-10-24 19:21
【摘要】： 很荣幸,在读研期间有机会参加法国歌剧大师比才的世界经典歌剧《卡门》的排演,并有幸在剧中扮演斗牛士(埃斯卡米洛)这一角色,深感获益匪浅。同时,也深深地体会到在舞台上扮演一个具有个性的斗牛士的不易。文章就笔者亲历歌剧《卡门》排演为线索,引出文章中所要解读剧中人物斗牛士(埃斯卡米洛)的个性音乐分析及演释其实践过程,进而对剧中主人公之一埃斯卡米洛的舞台艺术形象的分析与研究。歌剧《卡门》是西方歌剧艺术宝库中上演率最高之一的经典之作,可以说经久不衰。在短暂的三年学习期间,能够体验到大师的名作,对于一个学习音乐的学子来讲,真乃一大幸事,不论是对于今后的学习还是工作,都有很大的帮助。因为是初次参加排演歌剧,的确感受很深,那么就用文章来阐述笔者亲历歌剧排演的实践过程,对自己今后的学习和工作将起到促进和鞭策的作用。文章分为四个部分：第一部分,对歌剧《卡门》的创作及其影响进行探讨。文中概述了比才创作《卡门》时的时代背景和历史意义,以及《卡门》在中国的公演情况。第二部分,对歌剧《卡门》中斗牛士(埃斯卡米洛)的音乐做了分析,包括斗牛活动在西班牙文化中的重要性,斗牛士(埃斯卡米洛)人物在《卡门》中的位置和突出该剧戏剧性的重要作用,结合斗牛士的咏叹调、宣叙调的音乐分析,论述其音乐。第三部分,重点放在笔者学习过的斗牛士的个人实践过程上,包括体会斗牛士人物内涵,富有激情的斗牛士及斗牛士的多种表现力；对斗牛士(埃斯卡米洛)人物多层次、多角度的理解,然后简要对不同演唱家演绎的斗牛士进行比较,再联系自己扮演斗牛士(埃斯卡米洛)的个人实践,进行理论与实践的结合,总结饰演斗牛士的心得体会。第四部分进而延伸到歌剧排演在高师音乐教育中的意义,同样具有一定的学术价值和现实意义。
[Abstract]:It is a great honor to have the opportunity to rehearse French opera master Beacai's world classic opera Carmen and to play the role of matador (Esther Camilo) during his study in graduate school. At the same time, there is also a deep understanding of the stage to play a personality matador is not easy. Based on the clue that the author experienced the rehearsals of the opera Carmen, the article leads to the interpretation of the character music analysis of the character matador (Esse Camilo) in the play and the interpretation of its practice process. Then the analysis and research on the stage art image of Esther Camilo, one of the protagonists in the play. Carmen is one of the most popular works in western opera art. In a short period of three years of study, to experience the master's masterpiece, for a music student, really is a great blessing, whether for the future study or work, have a lot of help. Because it is the first time to participate in the rehearsals of opera, it is really deeply felt, so I use the article to expound the practical process of opera rehearsal, which will promote and spur my study and work in the future. The article is divided into four parts: the first part discusses the creation and influence of the opera Carmen. This paper summarizes the background and historical significance of Beizai's creation of Carmen, and the performance of Carmen in China. The second part analyzes the music of the matador (Esther Camilo) in the opera Carmen, including the importance of bullfighting in Spanish culture. The role of the matador (AesCamilo) in Carmen and the significance of the drama are highlighted. The music of the matador's aria is analyzed and the music of the bullfighter is discussed. The third part focuses on the personal practice of the matador I have studied, including understanding the connotation of the matador characters, the various expressive powers of the passionate matador and the matador, and the multi-level of the matador (ace Camilo) characters. The understanding of various angles, and then a brief comparison of the bullfighters performed by different singers, and then linked to their own personal practice of playing matador (Esther Camilo), the combination of theory and practice, summed up the experience of playing matador. The fourth part extends to the significance of opera rehearsals in music education of teachers colleges, which also has certain academic value and practical significance.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J832
本文编号：2292317
[Abstract]:It is a great honor to have the opportunity to rehearse French opera master Beacai's world classic opera Carmen and to play the role of matador (Esther Camilo) during his study in graduate school. At the same time, there is also a deep understanding of the stage to play a personality matador is not easy. Based on the clue that the author experienced the rehearsals of the opera Carmen, the article leads to the interpretation of the character music analysis of the character matador (Esse Camilo) in the play and the interpretation of its practice process. Then the analysis and research on the stage art image of Esther Camilo, one of the protagonists in the play. Carmen is one of the most popular works in western opera art. In a short period of three years of study, to experience the master's masterpiece, for a music student, really is a great blessing, whether for the future study or work, have a lot of help. Because it is the first time to participate in the rehearsals of opera, it is really deeply felt, so I use the article to expound the practical process of opera rehearsal, which will promote and spur my study and work in the future. The article is divided into four parts: the first part discusses the creation and influence of the opera Carmen. This paper summarizes the background and historical significance of Beizai's creation of Carmen, and the performance of Carmen in China. The second part analyzes the music of the matador (Esther Camilo) in the opera Carmen, including the importance of bullfighting in Spanish culture. The role of the matador (AesCamilo) in Carmen and the significance of the drama are highlighted. The music of the matador's aria is analyzed and the music of the bullfighter is discussed. The third part focuses on the personal practice of the matador I have studied, including understanding the connotation of the matador characters, the various expressive powers of the passionate matador and the matador, and the multi-level of the matador (ace Camilo) characters. The understanding of various angles, and then a brief comparison of the bullfighters performed by different singers, and then linked to their own personal practice of playing matador (Esther Camilo), the combination of theory and practice, summed up the experience of playing matador. The fourth part extends to the significance of opera rehearsals in music education of teachers colleges, which also has certain academic value and practical significance.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J832
【共引文献】
相关期刊论文 前10条
1 龙有成,陈万;试论气质类型与歌唱[J];阿坝师范高等专科学校学报;2004年04期
2 刘丹;毕武胜;;论学生合唱综合能力的培养[J];安徽电子信息职业技术学院学报;2011年02期
3 杨留兵;薛军;;标题音乐与19世纪浪漫乐派[J];安徽师范大学学报(人文社会科学版);2007年05期
4 吕茵;陈茜;;轻声唱法对花腔演唱的意义[J];安徽师范大学学报(人文社会科学版);2011年04期
5 喻樱;;高尚的人格、圣洁的心灵——交际花薇奥列塔性格特征[J];安徽文学(下半月);2008年07期
6 符周利;;论西方宗教对欧洲中世纪和文艺复兴时期音乐的影响[J];安徽文学(下半月);2008年09期
7 魏桂珍;;谈儿童声乐教学[J];安徽文学(下半月);2008年12期
8 华文健;;论维也纳古典乐派对交响曲的贡献[J];安徽文学(下半月);2009年01期
9 马婷婷;;自信的歌唱[J];安徽文学(下半月);2009年03期
10 王晶一;;歌剧《参孙与达丽拉》中咏叹调《我心花怒放》演唱研究[J];安徽文学(下半月);2009年04期
，本文编号：2292317
本文链接：https://www.wllwen.com/wenyilunwen/xijuwudaolunwen/2292317.html
