歌剧《费加罗的婚礼》中伯爵夫人的角色分析
发布时间：2018-11-14 16:46
【摘要】：本文研究的对象是歌剧《费加罗的婚礼》中伯爵夫人这一角色的性格特点。这部作品是奥地利音乐家莫扎特于1786年创作的意大利喜歌剧,歌剧的脚本作者是法国戏剧家、文学家博马舍。这部歌剧一经上演就引起巨大的反响,剧中的每一个角色都成为经典,笔者将重点分析伯爵夫人这一角色。文章分为三个部分来进行分析,第一部分通过分析歌剧脚本,以原著故事情节和文字对话为例来探讨伯爵夫人的性格特征;第二部分从歌剧角度出发,以音乐和舞台表演为例来进一步探讨伯爵夫人的人物形象;第三部分是以笔者自身的演出经历为例,来谈谈在演出过程中如何塑造一个更加活灵活现的伯爵夫人。文章的三个部分层层推进、深入,由理论上升到实践,使伯爵夫人这一角色特点更加全面、透彻、丰富。为今后参与这部作品的学者,提供可参考的理论依据。
[Abstract]:The object of this study is the character of the role of Countess in Opera Figaro's Wedding. The work is an Italian opera by Austrian musician Mozart in 1786, written by French dramatist and writer Bohmatcher. As soon as the opera was staged, the response was enormous, and each character became a classic. I will focus on the role of the Countess. The article is divided into three parts to analyze the first part through the analysis of opera scripts with the original story and text dialogue as an example to explore the characteristics of the countess; The second part, from the angle of opera, takes music and stage performance as examples to further explore the image of the countess; The third part is the author's own performance experience as an example to talk about how to create a more vivid countess in the performance process. The three parts of the article are advanced from theory to practice, which makes the character of Countess more comprehensive, thorough and rich. For the future participation of the work of scholars, to provide reference theoretical basis.
【学位授予单位】：西安音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J617.2;J832
本文编号：2331738
[Abstract]:The object of this study is the character of the role of Countess in Opera Figaro's Wedding. The work is an Italian opera by Austrian musician Mozart in 1786, written by French dramatist and writer Bohmatcher. As soon as the opera was staged, the response was enormous, and each character became a classic. I will focus on the role of the Countess. The article is divided into three parts to analyze the first part through the analysis of opera scripts with the original story and text dialogue as an example to explore the characteristics of the countess; The second part, from the angle of opera, takes music and stage performance as examples to further explore the image of the countess; The third part is the author's own performance experience as an example to talk about how to create a more vivid countess in the performance process. The three parts of the article are advanced from theory to practice, which makes the character of Countess more comprehensive, thorough and rich. For the future participation of the work of scholars, to provide reference theoretical basis.
【学位授予单位】：西安音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J617.2;J832
【参考文献】
相关硕士学位论文 前1条
1 李彤;论歌剧《费加罗的婚礼》中伯爵夫人的咏叹调及演唱风格[D];天津音乐学院;2016年
，本文编号：2331738
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