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何兆华在《剧本》1987年第一期发表的《歌剧思絮》一文中说,一、歌剧要紧紧抓住自己灵魂的环节——音乐功能的发挥;而且要在描绘人生旅程的使命中加以发挥。二、歌剧艺术对于通俗音乐,与其对立,不如融合;与其排斥,不如汲取。三、歌剧创作的题材范围太狭小。戏剧作品必须具有开发意义,不能总是在已知的世界里打圈圈,而是要向未知的领域挺进。四、歌剧内容的开拓,势必带来歌剧形式和形态的多样化扩展。五、歌剧领域的纷争主要表现在三个范畴:土洋之争、新旧之争、音乐戏剧之争。重要的问题是谅解。六、歌剧的长河从来就是流动的。让我们
In his article “Opera Thought” published in the first issue of “The Script,” in 1987, He Zhaohua said that opera should firmly grasp the link of its own soul - the function of music; and it should also play its role in portraying the journey of life . Second, the art of opera for popular music, as opposed to the confluence; as opposed to exclusion, it is better to learn. Third, the subject matter of opera creation is too narrow. Theatrical productions must have developmental significance, can not always circumnavigate the known world, but must advance to the unknown. Fourth, the opening up of the opera content is bound to bring about the diversification of the forms and forms of opera. V. Disputes in the field of opera are mainly manifested in three categories: the dispute between the land and the sea, the dispute between the old and the new, and the controversy between the music and drama. The important issue is understanding. Sixth, the long river of opera is always mobile. let us