论威尔第歌剧《阿依达》中女主人公阿依达的形象塑造

发布时间：2018-01-05 20:18

本文关键词：论威尔第歌剧《阿依达》中女主人公阿依达的形象塑造　出处：《新疆师范大学》2010年硕士论文　论文类型：学位论文

【摘要】：在辉煌的意大利歌剧史上,朱塞佩·威尔第无疑写下了浓墨重彩的一笔,他是自蒙特威尔第之后意大利最杰出的歌剧作曲家,他为歌剧艺术开创了一个崭新的时代。威尔第深受浪漫主义的影响,并逐渐成为这种思潮的重要推动者。其创作风格虽然随着时代的变迁和阅历的增长而有所变化,但其中也有不变的特色,包括剧本、题材、对声部的处理以及对歌手的要求等。一般来说,我们可将威尔第的作品分为三个时期。第一时期从他的第一部歌剧《奥贝托》(1839)到《茶花女》(1853),第二时期从《西西里晚祷》(1855)到《阿依达》(1871),第三时期可从《阿依达》(1871)到最后一部歌剧《法斯塔夫》(1893)。在这些著名的歌剧中,《阿依达》可堪称杰出的代表作。本论文就是以《阿依达》作为研究对象,以歌剧中的音乐和脚本为切入点,运用本体性研究方式,将歌剧纳入历史的宏观视域,对阿依达的形象进行了深入细致的解析。论文主体分为三部分:第一章介绍了威尔第生平及歌剧创作,第二章梳理了歌剧《阿依达》的相关概况,第三章深入探究了阿依达的形象塑造。作为威尔第创作成熟时期的扛鼎力作,《阿依达》集中体现了他在此阶段的歌剧理念。雄浑壮阔、悲凉凄婉的歌剧题材,主辅结合、虚实相生的双线索结构,在继承意大利传统音乐风格的同时融入了法国大歌剧的理念,都使得《阿依达》具有了戛戛独造的艺术风格。歌剧塑造了一个“圣洁”的阿依达形象,而围绕这一中心又展现了她善良无邪、聪慧坚强、忠贞爱国的特征。在舞台演出过程中,阿依达的扮演者需要把握住“适度”原则,尤其是对于感情的传达要恰到好处。其中的关键是要对人物形象有一个妥切的理解:既要围绕“圣洁”的形象进行阐释,又不能被“圣洁”的概念束缚了手脚。这里的“圣洁”不是雍容华贵的外表,不是优雅的举止,而是源自心底的善良、纯真、坚强和忠贞的心灵境界。歌者塑造的阿依达应该是一个无邪而不无知、自尊而不自傲、忧愁而不怨愁、失望而不绝望的形象。
[Abstract]:In the glorious history of Italian opera, Giuseppe Verdi undoubtedly wrote the most brilliant opera composer in Italy since Monteverdi. He opened a new era for the art of opera. Verdi was deeply influenced by romanticism and gradually became an important promoter of this trend of thought. Although his writing style changed with the changes of the times and the growth of his experience, it also had the same characteristics. Including the script, subject matter, the processing of the voice and the requirements of the singer. Generally speaking. We can divide Verdi's works into three periods, from his first opera, "Oberto" (1839), to "Camellia" (1853). The second period ranged from "Sicily Evening Prayer" 1855 to "Aida" 1871). The third period can range from "Aida" 1871 to the last opera, "Fastave" (1893). Among these famous operas, "Aida" is an outstanding masterpiece. This thesis takes "Aida" as the research object, takes the music and script in the opera as the breakthrough point, uses the ontology research method, brings the opera into the historical macroscopic horizon. The main body of the thesis is divided into three parts: the first chapter introduces the life of Verdi and the creation of opera, the second chapter combs the related overview of opera "Aida". The third chapter explores the image of Aida. As a masterpiece in the mature period of Verdi's creation, Aida epitomizes his operatic concept in this stage. The grand and desolate opera theme, the combination of main and auxiliary works, and the dual clue structure of the existence of the void and the reality. While inheriting the Italian traditional musical style and incorporating the idea of French grand opera, Aida has the unique artistic style of Cannes. The opera has created a "holy" image of Aida. And around this center showed her kind and innocent, intelligent and strong, loyal and patriotic characteristics. In the process of stage performance, the actor of Aida needs to grasp the principle of "moderation". The key is to have a proper understanding of the character image: to explain the image of "holiness". We cannot be bound by the concept of "holy". The "holy" here is not an elegant appearance, not elegant behavior, but from the heart of the good, pure. A strong and faithful state of mind. The singer should portray Aida as an image of innocence without ignorance, pride without pride, sorrow without resentment, disappointment without despair.
【学位授予单位】：新疆师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J832

【引证文献】