从参演歌剧《爱的甘醇》阿迪娜一角中获得的启示
发布时间：2019-07-03 15:41
【摘要】：歌剧诞生在美声唱法的发源地意大利,是一种以人声演唱为主要表现形式,同时兼容了管弦乐、舞蹈、诗歌、戏剧等艺术形式的综合艺术。歌剧中,包含声乐艺术中的独唱、重唱、合唱等多种演唱形式,也包含声乐艺术中声部的不同分类。可以说每一部歌剧都是声乐发展进步的活历史。在学习声乐的生涯中,能够参演一部歌剧,是每一位声乐学子的梦想,也必将是一次真正的历练和成长。2015年笔者作为女主角Adina的扮演者,参加了音乐学院“梦想歌剧团”的近9个月的排练及首演,过程艰辛,但收获丰厚。回顾这次学习经历,既有“学而时习之,不亦说乎”的心性,也有了“学而时习之,悟之”的迫切感。笔者意识到,艺术的进步离不开大量的实践,更离不开实践中的总结。本文以参演歌剧《爱的甘醇》中Adina一角,从学习歌剧、排练到演出的9个月的实践经历为素材和基础,将实践中学习歌剧的整个过程、学习心得、遇到的困难以及其中的收获与成长以论文的形式进行了总结和整理。全文分为六个部分。引言部分,笔者从歌剧排演的自身经历出发为本文的选题依据,对于《爱的甘醇》这部歌剧的研究意义进行简要分析,调查研究本部歌剧在国内外的发展现状,概括总结本人在学习以及演出时的心得体会。第一部分,怎样学习一个歌剧中的角色。以《爱的甘醇》这部歌剧为例,从读书、读谱、读“经典”、读“舞台”这四个方面,讲述了笔者学习歌剧人物的具体过程。第二部分,如何学习咏叹调。结合自己的学习经历,分别以音乐分析、学唱过程、歌唱技术的运用以及咏叹调中的语言这四个方面,阐述具体学习咏叹调的方式。试图通过这一部分将自己的学习方式与他人分享,共同研究探讨。第三部分,宣叙调的歌唱价值与训练意义。宣叙调的学习对于歌者来说十分重要。这部分着重描写宣叙调中语言的学习。主要介绍了语言的语感、节奏、节拍中的语言、带有音准的“说白”、变化音和声色彩四个方面的分析学习。第四部分,怎样塑造歌剧中的人物角色。歌剧中人物角色的塑造一直是歌唱者学习研究的重点。这一部分力图从角色的定位与审美、人物的“内化”与“外化”、咏叹调音乐和语言的学习与“自我”与“他我”的融合与突破的不同角度分析如何扮演歌剧中人物角色。第五部分,歌剧表演中的“瓶颈”。学习演唱歌剧的过程中,会遇到很多不同程度的困难。这里重点从“音乐修养”、歌唱者的“可塑性”与“局限性”这几个方面着手分析。第六部分,歌唱技术的再思考。这一部分从演唱的角度出发,以笔者多年声乐学习经验为基础,结合舞台经验,对歌唱技术的含义、呼吸的功能、“音量”的理解以及语言的重要性简要的叙述。本文是笔者出演《爱的甘醇》后,根据个人经历得出的经验总结和启示,并无任何指导意义。意在将个人体会与同行有更多的交流探讨,在未来的学习生活中有更深层次的造诣。
[Abstract]:The birth of the opera in the home of the sound-sound method, Italy, is one of the main forms of the singing of the human voice, and is compatible with the art of orchestral music, dance, poetry, drama and other art forms. In the opera, a variety of singing forms including solo, resinging, and chorus in the art of vocal music are also included in the different classifications of the vocal part in the vocal music art. It can be said that every opera is the living history of the progress of the development of vocal music. In the course of the study of vocal music, we can play an opera, it is the dream of every vocal music student, and will certainly be a real experience and growth. In 2015, the author of Adina, the leading actress, participated in the rehearsal and premiere of the "Dream and Opera Troupe" of the Conservatory of Music for nearly nine months, and the process is hard. But it's a good harvest. The experience of this study, both the nature of the "to learn and to learn, not to say" and the urgency of the "To learn to learn and to learn.". The writer realizes that the progress of the art can not be separated from a great deal of practice, and can not be separated from the summary in practice. This paper is based on the experience of the 9-month practice of the opera and the rehearsal to the performance, and the whole process of the opera is learned from the practice of the opera and the 9-month practice of the performance. The difficulties encountered and the gains and developments therein are summarized and sorted in the form of a paper. The full text is divided into six parts. In the introductory part, the author starts from the experience of the rehearsal of the opera as the basis for the selection of the subject, and makes a brief analysis of the significance of the study of this opera. The present situation of the development of the opera at home and abroad is investigated and the experience of myself in the study and performance is summarized. The first part, how to learn a role in an opera. In the four aspects of reading, reading, reading "Classic" and reading "stage", the author tells the specific process of the author's study of the opera. The second part, how to learn the aria. In the light of their own learning experience, the paper expounds the ways to learn the aria from the four aspects of the music analysis, the learning and singing process, the application of the singing technology and the language in the aria. An attempt was made to share with others through this part of the study. The third part, the singing value and the training significance of the Xuanping. The study of Xuanping is very important to the singer. This part describes the study of the language in the Xuanping. The paper mainly introduces the language, the rhythm, the language in the beat, the "to say white" with the sound, the change of the sound and the sound color. The fourth part, how to shape the character of the character in the opera. The character of the characters in the opera has always been the focus of the study of the singer. This part tries to analyze how to play the role of the characters in the opera from different angles of the character's orientation and the aesthetic, the "internalize" and the "externalization" of the character, the learning of the aria and the language and the integration and breakthrough of the "self" and the "He's me.". The fifth part, the "Bottleneck" in the opera performance. There are many different degrees of difficulty in learning to sing the opera. The focus is on the "the cultivation of music", the "plasticity" of the singer and the "limitation". The sixth part, the re-thinking of the singing technology. From the point of the singing, this part is based on the experience of the author's multi-year vocal music learning, combining with the stage experience, the meaning of the singing technology, the function of breathing, the understanding of the "Volume" and the importance of the language. This paper is the author's experience summary and inspiration, which is based on the experience of the personal experience, and has no guiding significance. It is intended to have more communication between the individual and the peer, and have a deeper level of attainments in the future study life.
【学位授予单位】：内蒙古师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J617.2;J822
本文编号：2509497
[Abstract]:The birth of the opera in the home of the sound-sound method, Italy, is one of the main forms of the singing of the human voice, and is compatible with the art of orchestral music, dance, poetry, drama and other art forms. In the opera, a variety of singing forms including solo, resinging, and chorus in the art of vocal music are also included in the different classifications of the vocal part in the vocal music art. It can be said that every opera is the living history of the progress of the development of vocal music. In the course of the study of vocal music, we can play an opera, it is the dream of every vocal music student, and will certainly be a real experience and growth. In 2015, the author of Adina, the leading actress, participated in the rehearsal and premiere of the "Dream and Opera Troupe" of the Conservatory of Music for nearly nine months, and the process is hard. But it's a good harvest. The experience of this study, both the nature of the "to learn and to learn, not to say" and the urgency of the "To learn to learn and to learn.". The writer realizes that the progress of the art can not be separated from a great deal of practice, and can not be separated from the summary in practice. This paper is based on the experience of the 9-month practice of the opera and the rehearsal to the performance, and the whole process of the opera is learned from the practice of the opera and the 9-month practice of the performance. The difficulties encountered and the gains and developments therein are summarized and sorted in the form of a paper. The full text is divided into six parts. In the introductory part, the author starts from the experience of the rehearsal of the opera as the basis for the selection of the subject, and makes a brief analysis of the significance of the study of this opera. The present situation of the development of the opera at home and abroad is investigated and the experience of myself in the study and performance is summarized. The first part, how to learn a role in an opera. In the four aspects of reading, reading, reading "Classic" and reading "stage", the author tells the specific process of the author's study of the opera. The second part, how to learn the aria. In the light of their own learning experience, the paper expounds the ways to learn the aria from the four aspects of the music analysis, the learning and singing process, the application of the singing technology and the language in the aria. An attempt was made to share with others through this part of the study. The third part, the singing value and the training significance of the Xuanping. The study of Xuanping is very important to the singer. This part describes the study of the language in the Xuanping. The paper mainly introduces the language, the rhythm, the language in the beat, the "to say white" with the sound, the change of the sound and the sound color. The fourth part, how to shape the character of the character in the opera. The character of the characters in the opera has always been the focus of the study of the singer. This part tries to analyze how to play the role of the characters in the opera from different angles of the character's orientation and the aesthetic, the "internalize" and the "externalization" of the character, the learning of the aria and the language and the integration and breakthrough of the "self" and the "He's me.". The fifth part, the "Bottleneck" in the opera performance. There are many different degrees of difficulty in learning to sing the opera. The focus is on the "the cultivation of music", the "plasticity" of the singer and the "limitation". The sixth part, the re-thinking of the singing technology. From the point of the singing, this part is based on the experience of the author's multi-year vocal music learning, combining with the stage experience, the meaning of the singing technology, the function of breathing, the understanding of the "Volume" and the importance of the language. This paper is the author's experience summary and inspiration, which is based on the experience of the personal experience, and has no guiding significance. It is intended to have more communication between the individual and the peer, and have a deeper level of attainments in the future study life.
【学位授予单位】：内蒙古师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J617.2;J822
【参考文献】
相关期刊论文 前6条
1 黄艳红;;宣叙调演唱技巧刍议[J];闽江学院学报;2011年06期
2 程志奎;;试论歌剧《爱的甘醇》中阿蒂娜的双重性[J];作家;2011年14期
3 刘倩;;如何在歌剧演唱中塑造人物形象[J];艺术研究;2011年02期
4 李肖;;唐尼采蒂《爱之甘醇》赏析[J];黄河之声;2009年15期
5 王石磊;唐瑭;;朴素与纯情 诙谐与真诚——析歌剧《爱的甘醇》的浪漫主义特色[J];文教资料;2008年09期
6 薛娟;;声乐表演艺术中歌唱技术与艺术表现的统一[J];黄河之声;2006年08期
相关硕士学位论文 前4条
1 孟昭龙;多尼采蒂歌剧中的重唱艺术分析[D];山东大学;2015年
2 郭彦华;多尼采蒂歌剧《爱的甘醇》中阿迪娜咏叹调《无情的伊索尔德》的音乐与演唱分析[D];山东师范大学;2013年
3 李欣;浅析多尼采蒂《爱的甘醇》中阿迪娜的角色塑造[D];上海音乐学院;2013年
4 郭晓艳;多尼采蒂歌剧中花腔女高音的演唱技巧探析[D];河南大学;2010年
，本文编号：2509497
本文链接：https://www.wllwen.com/wenyilunwen/xijuwudaolunwen/2509497.html
