歌剧《苍原》中娜仁高娃的人物形象塑造和演唱艺术处理

发布时间：2018-03-08 18:02

本文选题：歌剧《苍原》　切入点：娜仁高娃　出处：《山东师范大学》2009年硕士论文　论文类型：学位论文

【摘要】： 1995年歌剧《苍原》首演以来,至今演出近百场,曾荣获多项国家级大奖,成为新中国成立以来的经典歌剧之一,被纳入2002年度“国家舞台艺术精品工程”初选剧目。《苍原》公演后各种荣誉纷至沓来,被誉为“中国歌剧艺术的里程碑”、“西洋歌剧民族化的典范”等。中国歌剧评论家刘诗嵘这样评价到:“《苍原》在各个方面的综合成功,就好似一块块五彩斑斓的巨石最后构筑起了一座歌剧的崇山。”著名音乐评论家居其宏也这样讲到:“将波澜壮阔、凝重沉雄的史诗性风格当一个剧院整体打造的目标、十余年锲而不舍取得重要成就的,在整个20世纪中国歌剧上,辽歌也是名副其实的第一家。”充分的说明了辽宁歌剧院打造的歌剧《苍原》在中国歌剧界产生了巨大的反响。关于中国歌剧的研究一直被音乐界的同仁们所关注,对于这个发展中的问题,歌剧工作者们也一直走在探索的道路上。歌剧艺术的独特魅力在于它塑造了栩栩如生的人物形象,以事写人,以人映事。《苍原》作为当代具有影响力的歌剧作品之一,对其作品中人物形象塑造的分析具有可行性意义。本文通过对剧中唯一女主角——娜仁高娃的歌剧形象的分析,在前人时贤的有关《苍原》的研究基础之上,挖掘娜仁高娃这一形象的塑造过程,探索中国歌剧中女性人物的演唱技巧和形象塑造,进而深层认识《苍原》在中国歌剧发展史上的地位和作用,同时也能提高笔者在声乐演唱上的理解力和表现力。本文从以下几个方面分析研究娜仁高娃这一形象的塑造过程: 绪论部分,揭示了研究分析《苍原》中娜仁高娃这一形象的目的和意义,研究现状、资料来源等等。第一部分笔者将从《苍原》的创作背景、剧情结构和音乐特征三个方面对《苍原》进行纵观的分析,对歌剧《苍原》的整体概况进行初步的介绍;第二部分阐述了娜仁高娃戏剧形象的塑造过程及其审美价值。对娜仁高娃戏剧形象的塑造从“大我”形象和“小我”形象两个角度进行深入浅出的分析,然后从歌剧美学角度阐述了娜仁高娃这一形象的“崇高”美和“悲壮”美的审美价值;第三部分是本论文的重点章节,详细论述了娜仁高娃音乐形象的塑造过程,笔者分别从独唱、重唱、合唱及演员的二度创作的角度对娜仁高娃音乐形象的塑造过程进行全面的分析。本章从音乐本体、歌唱技巧(呼吸、语言、音色、音量)、舞台表现力等方面对娜仁高娃的唱段进行探索研究。最后为结语部分,对论文的脉络进行梳理总结,进一步揭示《苍原》对中国歌剧的启示和意义并对娜仁高娃这一歌剧形象的塑造进行总结性的阐述。
[Abstract]:Since the opening of the opera Cang Yuan in 1995, nearly 100 performances have been performed so far. They have won many national awards and become one of the classic operas since the founding of the people's Republic of China. It was included in the National stage Art Project of 2002. After the "Cangyuan" performance, all kinds of honours poured in. Known as "the milestone of Chinese opera art" and "the model of the nationalization of western opera," Liu Shirong, a Chinese opera critic, commented: "the comprehensive success of" Cang Yuan "in all aspects, It's like a piece of multicolored boulders finally built a mountain of opera. "A famous music critic, Zhu Qihong, said," Let the magnificent and dignified historical poetic style be the goal of a theater as a whole. In 20th century, Liao Song was also the first opera in China. "it fully shows that the opera" Cang Yuan "created by the Liaoning Opera House has produced a huge response in the Chinese opera circles." The research on Chinese opera has always been concerned by colleagues in the music industry. The unique charm of opera art is that it has created vivid characters, writing people with things and reflecting things. Cang Yuan is one of the influential operas in contemporary times. It is of practical significance to analyze the portrayal of characters in his works. Through the analysis of the opera image of Narengaova, the only female protagonist in the play, on the basis of the previous research on Cang Yuan, Excavating the process of shaping the image of Narengaova, exploring the singing skills and image shaping of female characters in Chinese opera, and then deeply understanding the position and role of Cangyuan in the history of the development of Chinese opera. At the same time, it can also improve the writer's understanding and expressiveness in singing vocal music. This paper analyzes and studies the process of shaping the image of Narengawa from the following aspects:. In the introduction part, it reveals the purpose and significance of the image of Narengaova in Cangyuan, the present situation of the research, the source of the data, etc. The first part of the author will start with the background of the creation of Cangyuan. The plot structure and musical characteristics of the three aspects of the "Cang Yuan" for a general analysis of the opera "Cang Yuan" of the overall situation of the preliminary introduction; The second part expounds the shaping process and aesthetic value of Narengawa's dramatic image. Then from the angle of opera aesthetics, it expounds the aesthetic value of "lofty" beauty and "tragically" beauty of the image of Narengaova. The third part is the key chapter of this paper, which discusses the process of shaping the musical image of Narengawa in detail. The author makes a comprehensive analysis of the process of shaping the musical image of Narengawa from the perspectives of solo, duet, chorus and the second creation of the actors. This chapter is based on the music ontology, singing techniques (breathing, language, timbre, etc.). In the aspects of volume, stage expression and so on, the author explores and studies the singing passages of Narengaova. Finally, the conclusion is the summary of the paper's context. It further reveals the enlightenment and significance of Cang Yuan to Chinese opera and expounds the creation of the image of Narengaova.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J822

【引证文献】