论普契尼歌剧《图兰朵》中卡拉夫角色的形象塑造
发布时间：2019-06-20 01:45
【摘要】： 从19世纪后半叶到20世纪前半叶,普契尼以其感人肺腑的戏剧情节和优美清新的音乐成为了继威尔第之后意大利最具有影响力的歌剧作曲家。歌剧《图兰朵》是他歌剧创作中的最后一部歌剧,也是最有影响力的一部,作曲家普契尼毕其一生的精华而作,是对普契尼一生歌剧事业的总结。 歌剧《图兰朵》以古代中国为背景,剧中作曲家普契尼运用多种艺术手法,采用中国民歌茉莉花的旋律和生活民俗,是整部歌剧从头到尾都充满了异国情调和东方色彩。剧中塑造了图兰朵、卡拉夫、柳儿等一批鲜活的人物形象,也诞生了几首经典的咏叹调,如“今夜无人入睡”和“主人,请听我说”等。 笔者将前人对普契尼这部歌剧的研究进行了梳理,了解到前人的研究大多主要集中在对歌剧主要人物柳儿及其咏叹调的研究上,而对歌剧中卡拉夫王子人物形象的研究上,还比较少。所以,本文通过对普契尼歌剧《图兰朵》中卡拉夫王子这一角色进行分析研究,力求全面、细致地对其艺术形象、音乐形象提出一些自己的看法。 文章从以下几个方面进行论述: 第一章是引言。主要是对本课题的选题意义、研究目标、研究内容及研究现状进行深入细致地论述。 第二章是普契尼及其歌剧《图兰朵》。文章分为三部分,第一部分主要是概述普契尼的生平及其著名歌剧,并认真分析歌剧《图兰朵》的创作心理和艺术特色。第二部分是对歌剧《图兰朵》的综合分析,主要分为三个方面,是从歌剧《图兰朵》的历史背景、文本演变、异国情调及东方色彩进行分析。第三部分是歌剧《图兰朵》的剧情结构,以图表的形式较为详细的分析歌剧每一幕之间的关系。 第三章是歌剧《图兰朵》中卡拉夫的戏剧人物形象分析。本章主要分为两部分,第一部分简单介绍历史上鞑靼人,以便总体上把握卡拉夫的性格特点。第二部分是对卡拉夫角色分析,主要是对卡拉夫王子的人物性格进行研究。 第四章是歌剧《图兰朵》中卡拉夫的音乐形象分析。是全文的重点章节,分为两部分,第一部分主要是分析卡拉夫的音乐形象特征。第二部分是对卡拉夫在歌剧中二首著名咏叹调的分析以及艺术成就。 第五章是卡拉夫的咏叹调与普契尼及其它歌剧男高音咏叹调的异同。主要分为三部分,主要从人物特色、音乐创作手法和音乐主题风格上进行分析研究。 最后是文章的结语
[Abstract]:From the second half of the 19th century to the first half of the 20th century, Puccini became Italy's most influential opera composer after Verdi with his touching dramatic plot and beautiful and fresh music. The opera Tulando is the last opera in his opera creation, and it is also the most influential one. Composer Puccini has written the essence of his life, which is a summary of Puccini's opera career in his life. The opera Tulando is set in ancient China. Puccini, the composer in the opera, uses a variety of artistic techniques and adopts the melodies of Chinese folk songs and jasmine flowers and folk customs of life. The whole opera is full of exotic and oriental colors from beginning to end. The play portrays a group of fresh characters such as Turando, Karav, Liu er and so on, and also gives birth to several classic arias, such as "No one sleeps tonight" and "Master, please listen to me" and so on. The author combs the previous research on Puccini's opera, and understands that most of the previous studies mainly focus on the main characters of opera Liu er and his aria, but there are few studies on the characters of Prince Karafu in opera. Therefore, through the analysis and study of the role of Prince Karafu in Puccini opera Tulando, this paper tries to put forward some views on his artistic image and music image in a comprehensive and meticulous way. The article discusses from the following aspects: the first chapter is the introduction. Mainly on the significance of this topic, research objectives, research content and research status are discussed in detail. The second chapter is Puccini and his opera Turando. The article is divided into three parts. The first part is an overview of Puccini's life and his famous opera, and a careful analysis of the creative psychology and artistic characteristics of the opera Turandot. The second part is a comprehensive analysis of the opera Tulando, which is mainly divided into three aspects, which is analyzed from the historical background, text evolution, exotic mood and oriental color of the opera Tulando. The third part is the plot structure of opera Tulando, which analyzes the relationship between each scene of opera in detail in the form of chart. The third chapter is the analysis of Karafu's dramatic characters in the opera Tulando. This chapter is divided into two parts, the first part briefly introduces the Tatars in history, in order to grasp the personality characteristics of Karav as a whole. The second part is the analysis of Karafu's role, mainly on the character of Prince Karafu. The fourth chapter is the music image analysis of Karav in the opera Turando. It is the key chapter of the full text, which is divided into two parts. The first part is mainly to analyze the musical image characteristics of Karafu. The second part is the analysis and artistic achievement of Karafu's two famous arias in opera. The fifth chapter is the similarities and differences between Karafu's aria and Puccini and other opera tenor aria. Mainly divided into three parts, mainly from the character characteristics, music creation techniques and music theme style analysis and research. Finally, the conclusion of the article
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J832
本文编号：2502814
[Abstract]:From the second half of the 19th century to the first half of the 20th century, Puccini became Italy's most influential opera composer after Verdi with his touching dramatic plot and beautiful and fresh music. The opera Tulando is the last opera in his opera creation, and it is also the most influential one. Composer Puccini has written the essence of his life, which is a summary of Puccini's opera career in his life. The opera Tulando is set in ancient China. Puccini, the composer in the opera, uses a variety of artistic techniques and adopts the melodies of Chinese folk songs and jasmine flowers and folk customs of life. The whole opera is full of exotic and oriental colors from beginning to end. The play portrays a group of fresh characters such as Turando, Karav, Liu er and so on, and also gives birth to several classic arias, such as "No one sleeps tonight" and "Master, please listen to me" and so on. The author combs the previous research on Puccini's opera, and understands that most of the previous studies mainly focus on the main characters of opera Liu er and his aria, but there are few studies on the characters of Prince Karafu in opera. Therefore, through the analysis and study of the role of Prince Karafu in Puccini opera Tulando, this paper tries to put forward some views on his artistic image and music image in a comprehensive and meticulous way. The article discusses from the following aspects: the first chapter is the introduction. Mainly on the significance of this topic, research objectives, research content and research status are discussed in detail. The second chapter is Puccini and his opera Turando. The article is divided into three parts. The first part is an overview of Puccini's life and his famous opera, and a careful analysis of the creative psychology and artistic characteristics of the opera Turandot. The second part is a comprehensive analysis of the opera Tulando, which is mainly divided into three aspects, which is analyzed from the historical background, text evolution, exotic mood and oriental color of the opera Tulando. The third part is the plot structure of opera Tulando, which analyzes the relationship between each scene of opera in detail in the form of chart. The third chapter is the analysis of Karafu's dramatic characters in the opera Tulando. This chapter is divided into two parts, the first part briefly introduces the Tatars in history, in order to grasp the personality characteristics of Karav as a whole. The second part is the analysis of Karafu's role, mainly on the character of Prince Karafu. The fourth chapter is the music image analysis of Karav in the opera Turando. It is the key chapter of the full text, which is divided into two parts. The first part is mainly to analyze the musical image characteristics of Karafu. The second part is the analysis and artistic achievement of Karafu's two famous arias in opera. The fifth chapter is the similarities and differences between Karafu's aria and Puccini and other opera tenor aria. Mainly divided into three parts, mainly from the character characteristics, music creation techniques and music theme style analysis and research. Finally, the conclusion of the article
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J832
【引证文献】
相关硕士学位论文 前1条
1 秦超;论普契尼三部歌剧中的男主人公角色塑造[D];山东师范大学;2010年
，本文编号：2502814
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