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本文以鲁迅同名小说为参照,对歌剧《伤逝》中子君形象的塑造、子君唱段的结构安排、以及期间呈现出的美学特征和文学意涵进行了阐释,作曲家和编剧对于原著的“二度创作”和“有意或无意的误读”进行了分析。文章以“两个子君”的对比为研究切入点,进而展开对歌剧《伤逝》如何用音乐呈现子君的形象、衬托涓生的性格,如何音乐地表述子君这一角色之于歌剧《伤逝》的意义,进而满足作曲家、原著作者、歌剧剧本改编者对于子君、及其生存时代的想象。
This article, based on Lu Xun’s novel of the same name, expounds the shaping of the neo-jun’s image of “passing away” opera, the arrangement of Zi-Jun’s verse, the aesthetic characteristics and the literary meaning during the period. The composer and screenwriter, “Second Degree Creation” and “Intentional or Unintentional Misreading” were analyzed. The article begins with the comparison of the two sub-monarchs, and then proceeds to show how to present the image of subjun with music and bring out the character of Juansheng, and how to describe the role of subjun in music in opera The meaning of “passing away”, and then to meet the composer, the original author, opera script editor for Zi Jun, and the survival of his imagination.