近代中国歌剧文学创作特性历史审视（1920年-1949年）

【作者】 戈晓毅；

【导师】 居其宏；

【作者基本信息】 南京艺术学院 ， 音乐学， 2012， 博士

【摘要】 《近代中国歌剧文学创作特性历史审视》（1920——1949）既能为全面审视中国歌剧文学历史、总结中国歌剧文学创作规律、开创性地构建一个歌剧文学基础理论框架提供必要的前提和基础，又可促使中国歌剧的整体创作在观念上逐步走向理性，最终积极作用于当代歌剧文学的创作实践。本文以近代中国歌剧发生、形成、发展的历史脉络为纵线，运用歌剧本体分析的理论与方法，以特定歌剧类型的代表性剧目为点、同一时期同一类型的其它剧目为面，以点带面，对近代中国歌剧的文学创作及其在作品中所体现的戏剧性和音乐性这一根本性命题的综合状态、创作特色、艺术成就和存在问题进行技术分析。主要对二十世纪20年代初开创中国歌剧文学创作先河的黎锦晖儿童歌舞剧，以及同时期的其它歌舞剧文学形式；30年代多元化格局中作为严肃歌剧开山之作的《王昭君》、“话剧加唱”形式的《扬子江暴风雨》等不同体裁、不同风格的歌剧文学形式；40年代延安秧歌剧及其大型化后的秧歌剧文学形式；近代中国歌剧文学史上第一部最为完型的正歌剧《秋子》的文学形式；以《白毛女》为代表新歌剧文学形式等，进行戏剧性、音乐性及审美特性的分析，具体内容涉及到近代中国歌剧文学创作的戏剧结构、组织手段、类型体制、体裁风格、题材选择、情节编织、角色设置、人物关系、性格特征、情感纠葛、形象塑造、戏剧动作、矛盾冲突、场面设定、戏剧高潮、剧诗布局、语言特色、音乐功能，中西方歌剧文学诗性的借鉴与融汇手段、作曲家在剧本创作中的中心地位、剧本作者和歌剧类型的认定以及剧作家的剧本理念、创作现象、歌剧理想等诸多方面。同时，运用历史分析方法，将这些具有代表性的歌剧文学作品置入近代中国歌剧文学发展的历史中进行整体的考察，通过与同时期和不同时期的其它作品的比较分析，在纵向和横向上寻找并揭示它们在创作理念、组织手段、呈现方式、美学特征等方面的相互关系，勾勒出近代中国歌剧文学形成及发展历史脉络，从创作成就及历史影响两个方面进行综合考量和整体评价，确定其在近代中国歌剧文学领域中的艺术价值和历史意义。最终从近代中国歌剧文学作品的历史影响及本体特征两个方面作出结论。更多还原

【Abstract】 A Historical Study on the Characteristics of Production of Opera Literature in Neoteric China (1920-1949) may not only review the history of opera literature in China, make a general conclusionfor the China’s opera literature production, creatively establish the necessary pretext and basisfor the theoretic framework of opera literature, but also make the overall production of operasin China increasingly rationalized in terms of conception, and play a positive role in theproduction practice of contemporary opera literature.Historically depicting the rise, formation and development of Neoteric China’s opera andusing the theories and methodology of opera ontology analysis, this paper analyzes theindividual model operas of different types of operas in the context of other operas of the sametype during the same period of time, carrying out a technical analysis the comprehensivestatus, characteristics, artistic achievements and problems of the production of neotericChina’s opera literature and the dramaticism and music character in it, which is the majortheme of this paper. This paper discusses the children’s musicals of Li Jinhui in the1920swhich laid the foundation of China’s opera literature production, and other forms of musicalsin the1920s, different types and styles of opera literature in the1930s, including WangZhaojun which marked the founding of China’s solemn opera and The Storm of Yangtze Riverwhich is featured by its combination of drama play and singing, opera literature in Yangkofolk dance and the large-scale Yanko musicals transformed out of it, the literature form of QiuZi, the first comprehensive formal opera in the history of neoteric China’s opera literatureproduction, as well as the new opera literature represented by White Hair Girl. These operaliterature are analyzed in terms of dramaticism, music character and aesthetic features, whichcover the drama structure, organizational method, typology, form of style, choice of theme,plot designing, role arrangement, relationship between persons, personal characters, emotioncomplication, image shaping, dramatic gestures, antinomy, scene setting, opera climax, musicand poem distribution, language specialty, function of music, method of mixing Westernopera literature with Chinese opera literature, the core role of musician in producing scenario,ascertaining producer and type of opera, producer’s scenario ideas, production phenomenon,and ideals of opera, etc. Apart from that, this paper also uses historical analysis method to study these representative pieces of opera literature in the context of the overall developmenthistory and process of neoteric China’s opera literature production, so as to, throughcomparison with other opera literature in the same period or other periods, seek to discovertheir mutual relationship in terms of artistic theories, organizational means, mode of display,and aesthetic characteristics, and to portray the historic track of the formation anddevelopment of the opera literature of China in the said period of time, thus enabling aconcluding evaluation and determination of those operas’ artistic value and historicalinfluence. This paper finally offers a comprehensive comment from the perspectives of artisticachievements and historic influence on China’s opera literature production in the said periodof time and its development history.更多还原