【作者】 满新颖；

【导师】 陈世雄；

【作者基本信息】 厦门大学 ， 戏剧戏曲学， 2006， 博士

【摘要】 二十世纪上半期,诞生了中国歌剧。她既不同于原先被西方称为“中国歌剧”的戏曲,也不同于“话剧加唱”的戏剧样式,而是一种具有民族特色的新型歌剧。围绕着“什么是中国歌剧”、“中国歌剧应该走什么道路”这一核心问题,我国歌剧界、学术界展开了多年的论争,至今没有完全达成共识。本文的意图,就是要总结中国歌剧的历史经验,对这个问题提出自己的看法。本文给中国歌剧下的定义是:中国歌剧是在原创性的多声音乐结构基础上表现戏剧情节、以歌唱为主要叙事方式、采取写实的表演风格、在内容和形式上富于中国特色的综合性舞台艺术。中国歌剧的定义是讨论中国歌剧发展道路的前提。本文分上、中、下三编回顾了中国歌剧孕育、发生和形成的历史过程。西方歌剧早在清朝乾隆年间就已传入中国,可是,朝廷禁海、禁教的政策和民众传统的审美心理却阻碍了西方歌剧的传播。从被动接受到主动学习、萌发了初步的歌剧审美意识,经历了民族文化心态的转变过程。《易水饯荆卿》是国人在小歌剧上的最早尝试,“学堂乐歌”和早期话剧分别从现代音乐和戏剧两方面为歌剧在中国的深度传播打下了基础。中国歌剧的孕育和生成是外国歌剧影响和刺激的结果。英、法、意、俄等国的歌剧陆续在沪、哈等城市的演出,对歌剧艺术在中国扎根并逐步本土化起了重要作用。上世纪二十年代,黎锦晖创作的儿童歌舞剧采取西方歌剧的结构形式,兼容中国和西方的音乐素材,追求音乐的原创性与戏剧性的统一,避免了“话剧加唱”和将戏曲改良成歌剧的写法,可以看作中国歌剧的雏形。三十年代,中国艺术家们对歌剧的认识和定位产生了很大差异。尝试了戏曲歌剧化、“话剧加唱”等不同的样式。张曙和聂耳分别代表了当时不同的歌剧创作道路,而陈歌辛则对音乐剧进行了大胆的探索。抗战开始后到新中国成立的十余年间,是中国歌剧的发育期。创作观念进一步演化,焦菊隐批判了将改良的戏曲当作“新歌剧”的做法,但是,有真知灼见的歌剧思维却受到了质疑。在创作领域,孤岛时期的上海和国统区都出现了用歌更多还原

【Abstract】 The first half of the 20th century has witnessed the naissance of a new type of opera with national characteristics: modern Chinese opera, which is neither what was called as“Chinese opera”by westerners—traditional Chinese opera, nor the theatrical mode called“drama with songs”. Issues concerning“what is modern Chinese opera”and“how to develop modern Chinese opera”have been in controversy for years in the opera and academic community of China, yet consensus has not been reached. This dissertation aims to summarize the historical development of modern Chinese opera and propose the present writer’s point of view.Modern Chinese opera has been defined by this dissertation as a synthetic stage art which is based on original polyphony structure, presents dramatic plot, uses singing as its major narrative method, employs realistic performance style, and is imbued with Chinese characteristics both in content and form.With this definition as the premise to discussion of the development of modern Chinese opera, a review of the gestation, growth and maturity of modern Chinese opera has been offered in this dissertation in three parts.As early as Qianlong reign period of the Qing Dynasty, western opera entered China. However, its transmission was obstructed by the marine prohibition and religion prohibition and by the traditional aesthetic psychology of the Chinese people. From passive acceptance to initiative study and emergence of tentative aesthetic consciousness of western opera, there’s a transformation of national cultural mentality. Good Luck to Mr. Jingke was the earliest attempt made by Chinese on operetta.“Music and Song at School”and modern drama of the early period laid the foundations for the further transmission of western opera in China from the aspects of modern music and drama.The naissance of modern Chinese opera resulted from the influence and incitement of foreign opera. The performance of opera groups from UK, France, Italy and Russia in cities like Shanghai and Haerbin played an important role for the rooting and gradual localization of opera art in China. In the 1920s, children’s song-and-dance drama composed by Li Jinhui can be regarded as the rudiments of modern Chinese opera. They adopted the western opera structure, incorporated Chinese and western musical elements, pursued the unity of musical originality and theatricality, and avoided the method of“drama with song”or changing traditional Chinese opera to modern Chinese opera. In the 1930s, Chinese artists differed greatly in the understanding of opera and orientation of opera. They tried such different modes as musicalization of traditional Chinese opera, and“drama with songs”. The更多还原