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1.音乐的启示瓦格纳的崇拜者阿匹亚与佩特的观点一致,认为音乐是一门理想的艺术,其它艺术都在觊觎它的地位。他在瓦格纳的音乐剧《尼伯龙根之歌》的宝藏中找到了革新布景艺术的途径。作为一位哲学家,阿匹亚一直在绝对中寻找慰籍,并在一种新式的歌剧乐谱——一种新颖的音乐和台词的组合中找到了它;一旦揭示了它的秘密,深刻领会了它的音程、音调、节奏,那么就可以此来作为阐释布景的准确无误的思路。它们不仅决定了舞台景物自身的形式,而且还决定着演员的动作直至舞台剧务的最小细节和起解说作用的灯光的变化。作为一位艺术家,阿匹亚在音乐中找到了自由,因为音乐所强调的远比真实实物感人。由此,阿匹亚为布景艺术家确定了一个努力的方向:即将他的布景全部转化为某种表达。于是,舞台画面获得了自由,不必再为戏剧动作而再现其环境;相反它们全部升华,直至其中的某一种因素都包
1. Musical Inspiration Appiah, admirer of Wagner, agrees with Pate that music is an ideal art, and that all other art is in its place. He finds a way to revolutionize the art of set-pieces in the treasures of Wagner’s musical The Song of Nibelungen. As a philosopher, Appiah has been looking for comfort in absolute terms and has found it in a new genre of opera - a combination of novel music and lines; once revealed its secrets, she deeply understands It’s pitch, pitch, rhythm, then this can be used as an explanation of the scenery of the correct ideas. They determine not only the form of the stage itself, but also the actor’s movements up to the smallest details of the stage’s play and the changing lighting of the interpretations. As an artist, Appiah has found freedom in music, because the music emphasizes more than the real one. As a result, Appiah set a strong goal for the set artist: converting all of his set to some expression. As a result, the stage pictures are free from the need to recreate their environment for dramatic movements; on the contrary, they all sublimate until one of these factors is contained