贾科莫·迈耶比尔歌剧中内容与娱乐的比例

D. Popov
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引用次数: 0

摘要

本研究的对象是十九世纪法国作曲家贾科莫·迈耶比尔的作品,研究的主题是他的作品中的信息和娱乐成分。这位著名大师最著名的作品被用于分析:《魔鬼罗伯特》、《胡格诺派教徒》、《先知》、《恐龙》。作者从十九世纪传统艺术装置“寓教于乐”的角度,考察了歌剧戏剧与音乐建构中“有意义”与“寓教于乐”的比例。这项研究的目的是纠正关于娱乐是梅耶比尔歌剧的主要缺点的论点,因为所有的舞台艺术作品,包括他的同时代作品,都离不开娱乐成分。这项研究的主要结论是,迈耶比尔作品中有意义的、有教育意义的一面被正式保留了下来,乍一看,这使得他的批评者的指责毫无意义。然而,细究起来,戏曲的内容被阉割,沦为陈词滥调,变得矛盾甚至荒谬,而娱乐方面得到加强,成为主导。因此,娱乐对Meyerbeer的指责应该得到纠正:它们的缺陷不在于娱乐,而在于它们失去了有意义的组成部分。这种娱乐与内容比例的模式后来被现代大众艺术所采用。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Ratio of Content and Entertainment in the Operas of Giacomo Meyerbeer
The object of the study is the work of the French composer of the XIX century Giacomo Meyerbeer, the subject of the study is the informative and entertaining components of his work. The most famous works of the famous maestro are used for analysis: "Robert the Devil", "Huguenots", "The Prophet", "Dinora". The author examines the ratio of "meaningful" and "entertaining" components in the dramatic and musical construction of the opera from the viewpoint of the traditional art of the XIX century installation "Entertaining - to teach!". The aim of the study is to correct the thesis about entertainment as the main drawback of Meyerbeer's operas, since all works of stage art, including his contemporaries, cannot do without an entertainment component. The main conclusion of the study is that the meaningful, instructive side in Meyerbeer's works is formally preserved, which, at first glance, makes the reproaches of his critics meaningless. However, upon closer examination, it turns out that the content of the operas is emasculated, reduced to the level of platitudes and cliches, becomes contradictory and even ridiculous, while the entertainment side is strengthened and becomes the leading one. Thus, the reproach of entertainment against Meyerbeer should be corrected: their defect is not that they entertain, but that they lose a meaningful component. This model of the ratio of entertainment and content will later be used by modern mass art.
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