摘要
“史诗剧”由德国戏剧理论家贝托尔德·布莱希特提出,其通常是指在戏剧创作中融合史诗的叙述、叙事性特征,并要求音乐、戏剧、舞蹈诸要素的分离。基于不同的艺术身份与美学立场,德国作曲家库尔特·魏尔突破了布莱希特对“史诗剧”概念的规定,并将其运用于对自身歌剧理论与实践的建构。文章通过对魏尔代表性的史诗剧实践--歌剧《马哈哥尼城的兴衰》的分析与考察,说明了魏尔对“史诗剧”概念的不同理解,即有别于一般布莱希特带有批判与意识形态特征的解释,魏尔式“史诗剧”为歌剧体裁创作提供了更为积极且具有建设性的目标,并对音乐形式有着更深刻的认知并给予更多的承认,属于音乐戏剧学范畴。
"Epic theatre",a concept proposed by German theatre theorist Bertolt Brecht,generally refers to the integration of the narrative and storytelling characteristics of epic poems into theatrical creation,while demanding the separation of music,drama,and dance as distinct elements.From a different artistic identity and aesthetic standpoint,German composer Kurt Weill transcended Brecht's conceptual constraints of"epic theatre"and applied it to the construction of his own operatic theory and practice.Through analysis and examination of Weill's representative epic theatre work,the opera Rise and Fall of the City of Mahagonny,this paper elucidates his unique interpretation of the"epic theatre"concept.Unlike Brecht's critical and ideological approach,Weill's"epic theatre"offers a more positive and constructive goal for operatic creation.It demonstrates a deeper understanding and greater acknowledgment of musical forms,and thereby falls within the realm of music dramaturgy.
出处
《星海音乐学院学报》
北大核心
2025年第4期117-132,共16页
Journal of Xinghai Conservatory of Music
