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研究生:賴珏妤
研究生(外文):Lai, Chueh-Yu
論文名稱:十九世紀藝術歌曲及歌劇中奧菲莉亞之瘋狂與死亡
論文名稱(外文):A Study of the Madness and Death of Ophelia in the Art Songs and Operas in the Nineteenth Century
指導教授:羅基敏羅基敏引用關係楊艾琳楊艾琳引用關係
指導教授(外文):Lo, Kii-MingYang, Irene
口試委員:羅基敏楊艾琳陳允宜黃均人錢善華蔡永凱歐遠帆
口試委員(外文):Lo, Kii-MingYang, IreneChen, Yun-YiHuang, Chun-ZenChien, Shan-HuaTsai, Yung-KaiOu, Yuan-Fang
口試日期:2023-06-12
學位類別:博士
校院名稱:國立臺灣師範大學
系所名稱:音樂學系
學門:藝術學門
學類:音樂學類
論文種類:學術論文
論文出版年:2024
畢業學年度:112
語文別:中文
論文頁數:137
中文關鍵詞:奧菲莉亞莎士比亞哈姆雷特瘋狂場景死亡場景
外文關鍵詞:OpheliaWilliam ShakespeareHamletmad scenedeath scene
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奧菲莉亞(Ophelia)是莎士比亞(William Shakespeare, 1564-1616)在《哈姆雷特》(Hamlet, 1599-1602)中原創的角色。在《哈姆雷特》複雜且多重的劇情下,相較於其他角色,莎士比亞對奧菲莉亞著墨不多,奧菲莉亞在莎士比亞作品的女性角色中也不是最出名的,但她卻是十九世紀諸多藝術家的靈感來源,經常出現在文學、美術與音樂作品中。許多作曲家以奧菲莉亞的瘋狂場景與死亡場景作為題材創作藝術歌曲,如布拉姆斯(Johannes Brahms, 1833-1897)的《五首奧菲莉亞歌曲》(Fünf Ophelia Lieder, WoO 22, 1873)、史特勞斯(Richard Strauss, 1864-1949)的《三首出自《哈姆雷特》的奧菲莉亞歌曲》(Drei Lieder der Ophelia aus William Shakespeares “Hamlet”, op. 67, TrV 238, nos. 1-3, 1918)、蕭頌(Ernest Chausson, 1855-1899)的〈奧菲莉亞之歌〉(Chanson d’Ophélie, 1896)、白遼士(Hector Berlioz, 1803-1869)的〈奧菲莉亞之死〉(La mort d’Ophélie, 1844)和聖桑斯(Camille Saint-Saëns, 1835-1921)的〈奧菲莉亞之死〉(La mort d’Ophélie, c. 1857)。也有作曲家為整齣《哈姆雷特》創作歌劇,如法契歐(Franco Faccio, 1840-1891)的義語歌劇《阿姆雷特》(Amleto, 1865)和托馬(Ambroise Thomas, 1811-1896)的法語大歌劇《哈姆雷特》(Hamlet, 1868)。
本論文將分析以奧菲莉亞瘋狂與死亡場景為題的藝術歌曲與歌劇,期望藉此梳理各個作曲家對於奧菲莉亞的呈現和闡述,提供詮釋上更多的選擇。
Ophelia, an original character created by William Shakespeare (1564-1616) in Hamlet (1599-1602), receives relatively less attention from Shakespeare compared to other characters in this complex and multifaceted play. Though Ophelia is not the most famous female character in Shakespeare’s works, she has become a prominent source of inspiration for many artists in the 19th century, frequently appearing in literature, fine arts, and musical works. Composers often use Ophelia’s mad and death scenes as themes for art songs, include Fünf Ophelia Lieder (WoO 22, 1873) by Johannes Brahms (1833-1897), Drei Lieder der Ophelia aus William Shakespeares “Hamlet” (op. 67, TrV. 238, nos. 1-3, 1918) by Richard Strauss (1864-1949), Chanson d’Ophélie (1896) by Ernest Chausson (1855-1899), La mort d’Ophélie (1844) by Hector Berlioz (1803-1869), and La mort d’Ophélie (c. 1857) by Camille Saint-Saëns (1835-1921); or they adapt the entire Hamlet for operas, include Amleto (1865) from Franco Faccio (1840-1891) and Hamlet (1868) from Ambroise Thomas (1811-1896).
This study aims to analyze art songs and operas that focus on Ophelia’s mad scene and death scene, intending to explore how various composers present and interpret Ophelia, thereby providing more choices for interpretation.
第一章 緒論 1
第一節 莎士比亞及其《哈姆雷特》在法、德、義的傳播 1
一、 法國 1
二、 德國 3
三、 義大利 4
第二節 莎士比亞《哈姆雷特》中的奧菲莉亞 5
第三節 文獻回顧 8
第二章 瘋狂場景之藝術歌曲 11
第一節 布拉姆斯《五首奧菲莉亞歌曲》 11
一、 第一首〈我要如何才知曉〉 14
二、 第二首〈殮衾遮體白如雪〉 15
三、 第三首〈情人佳節就在明天〉 17
四、 第四首〈他們抬他上棺架〉 18
五、 第五首〈他會不會再回來?〉 21
第二節 史特勞斯《三首出自《哈姆雷特》的奧菲莉亞歌曲》 23
一、 第一首〈我要如何才知曉〉 26
二、 第二首〈明日即是情人節〉 29
三、 第三首〈他們抬他上棺架〉 32
第三節 蕭頌〈奧菲莉亞之歌〉 36
第三章 死亡場景之藝術歌曲 41
第一節 白遼士〈奧菲莉亞之死〉 43
一、 創作背景 43
二、 音樂分析 44
(一)奧菲莉亞主題 45
(二)歌唱主題 46
(三)水流音型 52
第二節 聖桑斯〈奧菲莉亞之死〉 55
一、 A段 56
二、 A1段 57
三、 B段 59
四、 C段 61
第四章 法契歐歌劇《阿姆雷特》之奧菲莉亞瘋狂及死亡場景 63
第一節 創作背景與廿一世紀的再發現 63
一、 藝文才子柏依鐸 63
二、 一代指揮法契歐 64
三、 友情之作《阿姆雷特》 66
四、 廿一世紀的再發現 68
第二節 柏依鐸改寫《阿姆雷特》 69
第三節 奧菲莉亞瘋狂與死亡場景 73
一、 由瘋狂場景到瘋狂與死亡場景 73
二、 前奏與瘋狂場景 75
(一)前奏,第1-97小節 76
(二)瘋狂場景 78
1. A段,第98-134小節 79
2. B段,第135-152小節 80
3. C段,第153-200小節 81
4. B1段,第201-248小節 82
三、 死亡場景 84
(一)D段,第249-281小節 85
(二)E段,第282-310小節 85
第五章 托馬歌劇《哈姆雷特》之奧菲莉亞瘋狂及死亡場景 87
第一節 由創作到首演 87
第二節 由法譯本到歌劇劇本 90
第三節 音樂戲劇結構分析 95
一、 瘋狂場景 95
(一)以露琪亞的瘋狂場景為範本 95
(二)音樂分析 98
1. A段,第1-37小節 100
2. B段,第38-57小節 105
3. C 段(圓舞曲),第58-130小節 107
4. 「敘事曲」D段及E段,第131-229小節 109
5. 結束段落,第230-264小節 113
二、 死亡場景(終曲) 116
第六章 結論 124
參考文獻 126
附錄:莎士比亞原著劇本及大仲馬-莫里斯法譯本分幕內容對照表 134
一、原始資料
(一)樂譜
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