论文部分内容阅读
歌剧《欲望号街车》是一部会让观众感到非常好奇的作品。菲利浦·利特尔(Philip Littell)的脚本与编剧田纳西·威廉斯(Tennessee Williams)的原著非常贴合,而曲作者安德鲁·普列文(Andre Previn)在某种意义上说,只是把这些对话放置到了音乐中去。如果说歌剧是一种借用音乐语言来揭示人物内心的性格特点、情感状态以及对外物的心理反应的媒体,那么《欲望号街车》就很难说是一部真正的歌剧,相反它的创作似乎是“反歌剧”式的。布鲁斯·贝瑞斯福特的作品大量都是出自20世纪40年代的电影,约翰·斯多达特大规模的布景和奈杰尔·列弗的灯光设计,都保留了美国戏剧那个时代的野性与紧迫感。
Opera “A Streetcar Named for Desire” is a piece of work that makes the audience feel very curious. Philip Littell’s script fits well with the original Tennessee Williams, and songwriter Andre Previn, in a sense, just puts These conversations are placed in the music. If opera is a medium that borrows the language of music to reveal the psychological characteristics of human beings, their emotional status, and the psychological reactions to foreign objects, A Streetcar Named Desire is hardly a true opera. On the contrary, its creation seems Is “anti-opera ” type. Bruce Beresford’s work is largely based on films from the 1940s, the dramatic scenes of John Stoddart and the lighting of Nigel Lev, all preserving the wildness and urgency of the American drama of that era sense.