本文選題：歌劇《卡門》 + 排演�。� 參考：《陜西師范大學(xué)》2008年碩士論文

【摘要】： 比才(Bizat)《卡門》(Carmen)是法國歌劇史上的里程碑,也是現(xiàn)今上演率最高的一部歌劇。論文以歌劇《卡門》中的某些音樂片段及對《卡門》的具體演繹為寫作素材,將多樣性的體裁形式和具體的排演與演唱、教學(xué)水平的提高相結(jié)合為研究思路,運用從一般到具體、從實踐到理論和譜例證明的研究方法,目的在于揭示劇中音樂及表演與學(xué)習(xí)者演唱能力提高之間的關(guān)系,以此對聲樂演唱和教學(xué)提供一定的借鑒。 筆者認(rèn)為,除了詠嘆調(diào),歌劇《卡門》中其它藝術(shù)體裁,及具體演繹會對學(xué)習(xí)者的素質(zhì)及能力有更實際的提高。通過對劇中的五重唱、三重唱及第三幕中六重唱與合唱片段的體會與分析,說明重、合唱的音準(zhǔn)、節(jié)奏、氣息的訓(xùn)練過程比獨唱有著更為嚴(yán)格的要求;重、合唱的學(xué)習(xí)使得演唱者對音樂作品的感受、處理、演繹能力得到立體的強化與提高;重、合唱的訓(xùn)練能使學(xué)習(xí)者體驗到多元的歌唱形式與各異的作品演唱風(fēng)格,有助于豐富學(xué)習(xí)者的藝術(shù)文化視野,完善知識結(jié)構(gòu),增強集體協(xié)作意識,成為通用型人才。通過對劇中宣敘調(diào)的演唱、分析和概括,演唱者可以提高對其風(fēng)格和法語語言節(jié)奏韻律的把握,提高音樂修養(yǎng);演唱者可以進(jìn)一步加深對宣敘調(diào)類型、功能和風(fēng)格等的認(rèn)識,以便對演唱其它作品提供相應(yīng)的指導(dǎo)作用。另外,演唱者在歌劇實際演出過程中,表演技能會得到相應(yīng)的鍛煉和提高,具體的舞臺情境和歌劇《卡門》自身所具有的巨大的表演空間及《卡門》音樂獨特的風(fēng)格從客觀上為演唱者創(chuàng)造了鍛煉、提高才能的好機會;在歌劇《卡門》的實際演出中,從對《卡門》主題內(nèi)涵的深入理解、表演時的形體把握及對人物的塑造方面的學(xué)習(xí),都會使演唱者的歌唱及表演能力得到提升。歌劇音樂的連續(xù)性使歌劇表演具有其特殊性,歌劇演員必須在規(guī)定的音樂空間內(nèi),去完成規(guī)定情景下的人物情感的表達(dá)。演員既要充分地把所扮演的人物生動形象地展現(xiàn)給觀眾,但又不能超出音樂上帶來的局限。因此,舞臺上歌劇演員的表演,必須是處于“理智狀態(tài)”下的表演。演員要時刻注意自己的聲音、音準(zhǔn)、節(jié)奏、速度及和指揮樂隊配合等一系列問題;同時,還要清楚地知道自己在舞臺上的地位、劇情發(fā)展的速度以及和其他演唱者的交流等等。論文是將歌劇《卡門》具體的實踐歸納總結(jié)為文字理論知識,然后又為實踐提供指導(dǎo),以說明論文的主題意義。
[Abstract]:Bizat (Carmen) is a milestone in the history of French opera and one of the most popular. In this paper, some music fragments from the opera Carmen and the concrete deduction of Carmen are used as the writing materials, which combines the diverse genres, the specific rehearsals with the singing, and the improvement of the teaching level as the research ideas. The purpose of this paper is to reveal the relationship between the music and performance in the play and the improvement of learners' singing ability by using the research methods from general to concrete, from practice to theory and spectral examples, so as to provide some reference for vocal music singing and teaching. In addition to arias, the author thinks that other artistic genres in opera Carmen and concrete deduction will improve the quality and ability of learners more practically. Through the experience and analysis of the quintet, trio and the six duet and chorus in the third act, it is shown that the training process of the tone, rhythm and breath of the heavy, chorus is more strict than that of the solo. The study of chorus makes the singer's ability to feel, deal with and deduce the music work to be strengthened and improved, and the training of choral singing can enable the learner to experience various singing forms and different singing styles. It is helpful to enrich learners' artistic and cultural horizons, perfect knowledge structure, strengthen collective cooperation consciousness, and become general-purpose talents. By singing, analyzing and summarizing the narration of the play, the singer can improve his grasp of the style and rhythm of the French language, improve his musical accomplishment, and further deepen his understanding of the type, function and style of the narration. In order to sing other works to provide the corresponding guidance. In addition, during the actual performance of the opera, the singer's performance skills will be trained and improved accordingly. The specific stage situation and the huge performance space of the opera Carmen and the unique style of Carmen music have objectively created a good opportunity for the singers to exercise and improve their talents; in the actual performance of the opera Carmen, From the deep understanding of the connotation of Carmen's theme and the study of the shape of the performance and the shaping of the characters, the singing and performing ability of the singer will be improved. The continuity of opera music makes opera performance have its particularity. Opera actors must complete the expression of characters' emotion in the prescribed music space. Actors should show their characters vividly to the audience, but not beyond the limits of music. Therefore, the stage opera actor's performance, must be in the "rational state" the performance. An actor should always pay attention to his voice, pitch, rhythm, speed and coordination with the conductor, and also know clearly his position on the stage, the speed of the plot development, and the communication with other singers, etc. The paper sums up the concrete practice of opera Carmen as the theoretical knowledge of writing, and then provides guidance for practice to explain the thematic significance of the paper.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2008
【分類號】：J616-4

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相關(guān)期刊論文 前2條

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本文編號：1990242