德彪西的《玩具总动员》

Simon A. Morrison
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引用次数: 2

摘要

在莫斯科、纽约、巴黎和斯德哥尔摩的研究揭示了德彪西的儿童芭蕾哑剧《玩具盒》的创作和早期表演历史。令人惊讶的是,第一次大规模演出是在莫斯科而不是巴黎进行的,亨利·福特雷在安德烈·卡普莱之前完成了德彪西去世后的管弦乐编曲。戏剧导演和编舞家们对德彪西独特的儿童音乐创作方式有不同的解读,认为他受到了他的编剧安德烈·赫勒的设计影响。尽管新发现的原始材料可能允许重建《玩具盒》,但这样做将违反芭蕾舞的精神,这种精神将想象置于现实之上,矛盾的是,短暂的永恒。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Debussy’s Toy Stories
Research in Moscow, New York, Paris, and Stockholm uncovers the compositional and early performance histories of Debussy’s ballet pantomime for children, The Toy Box. Surprisingly, the first large-scale production took place in Moscow, not Paris, and Henri Forterre—in advance of Andre Caplet—completed the orchestration after Debussy’s death. Theater directors and choreographers variously interpret Debussy’s distinctive approach to creating music for children as having been influenced by the designs of his scenarist, Andre Helle. Although newly uncovered source materials might permit a reconstruction of The Toy Box , to do so would be to violate the spirit of the ballet, which embraces the imagined over the real and, paradoxically, the permanence of the ephemeral.
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