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音乐戏剧的民族形式并非横空出世,而是20世纪的爱国青年在“中国向何处去”的“世纪之问”中自觉地学习西方,批判地继承本民族文化的共识。每一部音乐戏剧作品在文、乐、曲、剧各自为政的当代史论中地位不同,但它们对形式变革的积极作用都值得肯定。在古今、中西、花雅的立体框架中梳理音乐戏剧形式的流变,才能更好地理解20世纪中国红色歌剧的实践。冼星海开创性地利用了“康塔塔”来表现抗战题材,开启了延安“洋瓶装中酒”的音乐戏剧形式。本文将结合新民主主义的时势,考察20世纪漫长的文化革命在过渡时期产生的过渡形式,以《黄河大合唱》为例,追溯西方形式在陕北革命根据地的流变,分析中西混编的观演在新旧更迭的时势中形成的经验和教训。
The ethnic forms of music and drama are not born in the sky, but the consensus of the patriotic youth in the 20th century to consciously learn from the West and critically inherit the culture of this nation in “Questions of the Century ” where “Where does China go? ”. Each piece of musical drama plays a different role in the contemporary history theory of writing, music, music and drama, but their positive role in formal change is worthy of recognition. In order to better understand the practice of the 20th century Chinese red opera, combing the changes in the form of musical theater in ancient, modern, Chinese and western cultures. Xian Xinghai pioneered the use of “Kangta tower” to show the theme of the war of resistance, opened the Yan’an “Western bottled wine ” music and drama forms. Combining with the trend of new-democratic times, this article examines the transitional forms that the long cultural revolution of the 20th century produced during the transitional period. Taking “The Yellow River Chorus” as an example, this article traces the evolution of Western-style revolutionary bases in northern Shaanxi and analyzes the mixed views of China and the West Played in the old and new changes in the times formed in the experience and lessons learned.