本文選題：威爾第 + 唐卡羅斯　； 參考：《西南交通大學(xué)》2012年碩士論文

【摘要】：“歌劇是一種綜合性的舞臺(tái)藝術(shù)。包括音樂(lè)、戲劇、文學(xué)、美術(shù)、表演、舞蹈等。其中多以音樂(lè)、戲劇為主,并把各種藝術(shù)融合為一體的、獨(dú)具一格的、在舞臺(tái)上表演的藝術(shù)形式�！雹俑鑴∮�1600年前后最先出現(xiàn)在意大利的佛羅倫薩,自然意大利歌劇被人們默認(rèn)為是歌劇的正宗。在傳揚(yáng)意大利歌劇漫長(zhǎng)的歷史進(jìn)程中,作曲家里尤其以意大利的威爾第為代表,而他更是將19世紀(jì)的意大利浪漫歌劇推上新的巔峰。威爾第一生共創(chuàng)作有二十六部歌劇,這些作品流傳范圍與場(chǎng)地甚廣,除了專業(yè)的大歌劇院,小劇院以及市井當(dāng)中也時(shí)常能聽(tīng)到出自威爾第歌劇中的旋律在回響,他的許多作品至今仍然盛演不衰,例如《茶花女》、《黎哥萊托》《游吟詩(shī)人》等,在他的整個(gè)歌劇創(chuàng)作生涯中,《唐卡羅斯》便是他創(chuàng)作中期的一部重要作品。 《唐卡羅斯》在威爾第的歌劇創(chuàng)作中占有非常重要的一席之地,之所以這樣說(shuō)是因?yàn)樵搫o(wú)論是從場(chǎng)面的宏大、戲劇情節(jié)的跌宕起伏,還是從幾位極其復(fù)雜的人物關(guān)系處理與人物性格特征的塑造來(lái)說(shuō),都是屬于重量級(jí)之作；《唐卡羅斯》也是威爾第歌劇創(chuàng)作中透析政治元素最貼近事實(shí)、最透徹的作品。這部歌劇改編自德國(guó)作家席勒的同名劇作,威爾第用更為精練的音樂(lè)手法創(chuàng)造了幾位生動(dòng)、鮮活的人物形象,在龐大的故事內(nèi)容陳述過(guò)程中,歌劇充滿了各種各樣的人物與感情關(guān)系：戀人之間的兩情相悅、摯友之間的真誠(chéng)友誼、父子之間的濃濃親情、夫妻之間的恩情、國(guó)與國(guó)之間的關(guān)系,甚至教會(huì)與世俗國(guó)家之間的矛盾、感情糾葛等也有所表現(xiàn),而歌劇中所描繪出來(lái)的深刻、感人的場(chǎng)面也同樣是威爾第歌劇中非常出色的一部。 本文首先介紹論題的提出、研究現(xiàn)狀以及文本研究的主要內(nèi)容、目標(biāo)與方法；其次是威爾第的歌劇《唐卡羅斯》概況：在借鑒前人研究成果的基礎(chǔ)上主要介紹威爾第生平及其歌劇創(chuàng)作、歌劇《唐卡羅斯》的腳本：威爾第在其歌劇創(chuàng)作歷程中積累了大量的、豐富的生活閱歷和作曲創(chuàng)作技巧,在該劇中成功塑造了彼此之間相互對(duì)立、相互斗爭(zhēng)又相互依賴的人物角色：男主人公英勇慷概,卻屢遭挫折；女主人公柔情萬(wàn)種,卻因愛(ài)而恨；最終幸免于難留下來(lái)的菲利普國(guó)王和大宗教裁判長(zhǎng),面對(duì)的卻是一個(gè)日漸黃昏、逐漸衰亡的帝國(guó)；再次是著重對(duì)比歌劇《唐卡羅斯》的演出版本并對(duì)經(jīng)典唱段的演出與演唱進(jìn)行歸納總結(jié)；最后也是本文的論題—歌劇內(nèi)涵表現(xiàn),闡釋了此劇內(nèi)涵表現(xiàn)的四個(gè)角度。在歌劇《唐卡羅斯》中,威爾第用自己的智慧,將戲劇化的內(nèi)容以音樂(lè)為線索編織起來(lái),他塑造的不只是理想式的英雄,更是自身雖有某種缺陷卻又極富藝術(shù)感染力的人物形象；他充分理解和把握人物及其命運(yùn)的發(fā)展脈絡(luò),在戲劇沖突的展開(kāi)中刻畫人物,對(duì)歌劇內(nèi)涵表現(xiàn)的設(shè)計(jì)使整部歌劇易于為觀眾所認(rèn)同,從而使一個(gè)個(gè)人物都富有極強(qiáng)的現(xiàn)實(shí)感和真實(shí)性。
[Abstract]:"Opera is a comprehensive stage art. It includes music, drama, literature, art, performance, dance and so on. Among them, music, drama, and all kinds of art are integrated into one, unique, artistic form on the stage." (1) the first opera appeared in Florence, Italy, and natural Italy song before and after 1600. In the long history of Italy opera, the composer, especially the Verdi of Italy, has pushed the nineteenth Century Italy romantic opera to a new peak. Verdi wrote a total of twenty-six operas in his life. These works have a wide range of fields and fields, except for the wide range and field of the opera. The professional opera house, the small theater and the city well can often hear the melodies from Verdi's opera, and many of his works still flourishing, for example, "the tea flower girl >" the Li brother Leto > the singing poet and so on. In his entire opera creation, "Tang Carlos" is one of his important works in the middle period of his creation.
"Tang Carlos" occupies a very important place in the creation of Verdi's opera. The reason is that the play is because it is from the grand scene, the ups and downs of the dramatic plot, and the modeling of several extremely complex character relations and character characteristics. It is the most close to the facts and the most thorough work of Verdi's opera creation. This opera is adapted from the same famous opera by Schiller, the German writer. Verdi has created several vivid and vivid characters with a more concise musical technique. In the process of the huge story, the opera is full of all kinds of characters and Relationship: the love between lovers, the sincere friendship between the best friends, the strong affection between the father and son, the relationship between the husband and wife, the relationship between the country and the country, even the contradictions between the church and the secular state, the emotional entanglement, and so on, and the profound and moving scenes depicted in the opera are also Verdi's operas. A very good one in it.
This article first introduces the proposition, the research status and the main content of the text research, the goal and the method; secondly, Verdi's opera < thangcarlos > overview: on the basis of the previous research results, it mainly introduces Verdi's life and its opera creation, the opera "Thangka Ross >" script: Verdi in his opera creation course. He has accumulated a large amount of life experience and composing skills. In the play, he successfully portrays the characters of antagonism and mutual dependence between each other: the heroine is heroic and generosity, but has suffered setbacks; the heroine is more than one kind of love, but the heroine is hated by love; and finally the king and the big Philip survived. The chief of the religious referee is faced with an empire that has gradually decayed at dusk and gradually decayed. Again, the performance and singing of the classical opera are summarized and summed up by the contrast of the opera < thangros >. Finally, the theme of this article, the connotation performance of the opera, explains the four angles of the connotation of the opera. With his wisdom, Verdi weaves the dramatic content with music as a clue. He creates not only the ideal hero, but also his own figure with some defects but very artistic appeal; he fully understands and grasps the development of the characters and their fate, and portrays people in the unfolding of dramatic conflicts. The design of the opera's connotation and performance makes it easy for the opera to be recognized by the audience, so that all the characters are very strong in reality and authenticity.
【學(xué)位授予單位】：西南交通大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J832

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