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由于歌剧的特点,来源于同名话剧的文学内容一般会做不同程度的改编,之后原文本容量、结构被大幅度改变,会失去独立存在的意义,这样,音乐戏剧与纯戏剧相比有结构上的缺陷,所以文学研究者一般不会把歌剧脚本作为文学来对待。世界戏剧史上,极少有共用文本的戏剧和歌剧两种体裁获得成功的事例,但也有例外的情况,比利时作家梅特林克在1883年创作的诗剧《佩莉亚斯与梅里桑德》成功的上演,30年后法国作曲家德彪西未对同名话剧做任何文本的改编,谱曲后同名歌剧上演获取成功。这两种共用文学文本的戏剧形式在各自领域留下了重要的影响,必然或是偶然?有学者表示德彪西努力想要在音乐上达成与梅特林克在《佩莉亚斯与梅里桑德》中文学因素一样共同的戏剧“立意”是个重要的因素,谨在此分析两种“范式”的戏剧成功因素以及对我国歌剧创作的启示。
Due to the characteristics of the opera, the literary content from the drama of the same name will generally be adapted to different degrees. After that, the original text’s capacity and structure will be greatly changed, and the meaning of independence will be lost. Thus, compared with the pure drama, the musical drama is structurally Therefore, literary researchers generally do not treat opera scripts as literature. In the history of the world drama, there are very few examples of success in both genres of theater and opera with common texts, but there are also some exceptions. The poetic drama Perillas and Mellisand, made by the Belgian writer Maitland in 1883, Successful staged, 30 years later, the French composer Debussy did not make any text adaptation of the same name drama, the composition of the same name after the opera staged success. It is inevitable or coincidental that the two forms of drama of the common literary text have left an important influence in their fields. Some scholars said that Debussy tried his utmost to achieve a musical connection with Maitrelink in “ Sangde ”plays an important part in the drama “ Consensus ”which is the same as the Chinese literature. Here I would like to analyze the success factors of the two “ paradigms ”and the enlightenment on the opera creation in our country.