【摘要】： 很榮幸,在讀研期間有機(jī)會(huì)參加法國(guó)歌劇大師比才的世界經(jīng)典歌劇《卡門》的排演,并有幸在劇中扮演斗牛士(埃斯卡米洛)這一角色,深感獲益匪淺。同時(shí),也深深地體會(huì)到在舞臺(tái)上扮演一個(gè)具有個(gè)性的斗牛士的不易。文章就筆者親歷歌劇《卡門》排演為線索,引出文章中所要解讀劇中人物斗牛士(埃斯卡米洛)的個(gè)性音樂(lè)分析及演釋其實(shí)踐過(guò)程,進(jìn)而對(duì)劇中主人公之一埃斯卡米洛的舞臺(tái)藝術(shù)形象的分析與研究。歌劇《卡門》是西方歌劇藝術(shù)寶庫(kù)中上演率最高之一的經(jīng)典之作,可以說(shuō)經(jīng)久不衰。在短暫的三年學(xué)習(xí)期間,能夠體驗(yàn)到大師的名作,對(duì)于一個(gè)學(xué)習(xí)音樂(lè)的學(xué)子來(lái)講,真乃一大幸事,不論是對(duì)于今后的學(xué)習(xí)還是工作,都有很大的幫助。因?yàn)槭浅醮螀⒓优叛莞鑴?的確感受很深,那么就用文章來(lái)闡述筆者親歷歌劇排演的實(shí)踐過(guò)程,對(duì)自己今后的學(xué)習(xí)和工作將起到促進(jìn)和鞭策的作用。文章分為四個(gè)部分：第一部分,對(duì)歌劇《卡門》的創(chuàng)作及其影響進(jìn)行探討。文中概述了比才創(chuàng)作《卡門》時(shí)的時(shí)代背景和歷史意義,以及《卡門》在中國(guó)的公演情況。第二部分,對(duì)歌劇《卡門》中斗牛士(埃斯卡米洛)的音樂(lè)做了分析,包括斗�；顒�(dòng)在西班牙文化中的重要性,斗牛士(埃斯卡米洛)人物在《卡門》中的位置和突出該劇戲劇性的重要作用,結(jié)合斗牛士的詠嘆調(diào)、宣敘調(diào)的音樂(lè)分析,論述其音樂(lè)。第三部分,重點(diǎn)放在筆者學(xué)習(xí)過(guò)的斗牛士的個(gè)人實(shí)踐過(guò)程上,包括體會(huì)斗牛士人物內(nèi)涵,富有激情的斗牛士及斗牛士的多種表現(xiàn)力；對(duì)斗牛士(埃斯卡米洛)人物多層次、多角度的理解,然后簡(jiǎn)要對(duì)不同演唱家演繹的斗牛士進(jìn)行比較,再聯(lián)系自己扮演斗牛士(埃斯卡米洛)的個(gè)人實(shí)踐,進(jìn)行理論與實(shí)踐的結(jié)合,總結(jié)飾演斗牛士的心得體會(huì)。第四部分進(jìn)而延伸到歌劇排演在高師音樂(lè)教育中的意義,同樣具有一定的學(xué)術(shù)價(jià)值和現(xiàn)實(shí)意義。
[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.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J832

【共引文獻(xiàn)】

相關(guān)期刊論文 前10條

1 龍有成,陳萬(wàn);試論氣質(zhì)類型與歌唱[J];阿壩師范高等�？茖W(xué)校學(xué)報(bào);2004年04期

2 劉丹;畢武勝;;論學(xué)生合唱綜合能力的培養(yǎng)[J];安徽電子信息職業(yè)技術(shù)學(xué)院學(xué)報(bào);2011年02期

3 楊留兵;薛軍;;標(biāo)題音樂(lè)與19世紀(jì)浪漫樂(lè)派[J];安徽師范大學(xué)學(xué)報(bào)(人文社會(huì)科學(xué)版);2007年05期

4 呂茵;陳茜;;輕聲唱法對(duì)花腔演唱的意義[J];安徽師范大學(xué)學(xué)報(bào)(人文社會(huì)科學(xué)版);2011年04期

5 喻櫻;;高尚的人格、圣潔的心靈——交際花薇奧列塔性格特征[J];安徽文學(xué)(下半月);2008年07期

6 符周利;;論西方宗教對(duì)歐洲中世紀(jì)和文藝復(fù)興時(shí)期音樂(lè)的影響[J];安徽文學(xué)(下半月);2008年09期

7 魏桂珍;;談兒童聲樂(lè)教學(xué)[J];安徽文學(xué)(下半月);2008年12期

8 華文健;;論維也納古典樂(lè)派對(duì)交響曲的貢獻(xiàn)[J];安徽文學(xué)(下半月);2009年01期

9 馬婷婷;;自信的歌唱[J];安徽文學(xué)(下半月);2009年03期

10 王晶一;;歌劇《參孫與達(dá)麗拉》中詠嘆調(diào)《我心花怒放》演唱研究[J];安徽文學(xué)(下半月);2009年04期

，

本文編號(hào)：2292317