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Forms and Ideas of Melodrama and Musical Plays in the Nineteenth-century Europe

十九世纪欧洲情节剧和音乐剧的形式和思想

基本信息

批准号：
14510064
负责人：
UCHIDA Masahiro
金额：
$ 2.37万
依托单位：
Kobe University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2002
资助国家：
日本
起止时间：
2002 至 2003
项目状态：
已结题

来源：
https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-14510064/
关键词：
melodrama chanson music drama operetta opera movie music Meyerbeer salon music マイヤベーア

项目摘要

Our research on melodrama and its ramifications and influences on other theatrical arts in the nineteenth-century Europe resulted in the following distinctive but interrelated contributions.1 During his two visits to Munich and Zurich, Okada made a research on the theatrical journals and performance details of the "grand opera". The close reading Meyerbeer's Les Huguenots revealed an interesting connection between the melodramatic techniques and the grand operatic styles : the "grand opera" can be nothing but a grandiose performance full of spectacular scenes and romantic love.2 The close relation between operetta and melodrama was pointed out by Ito. A vulgarized version of romanticism, according to Ito, was a key to understand a popular theater in the 19^<th> century Europe. His argument was based on the analysis of Lehar's Zigeunerliebe.3 Fujino read a melodramatic technique into Wagner's La muette de Portici (script by Lehar), thus revealing a secret relevance of the melodramatic to the politic. It was strikingly clarified how the European arts and societies in general were permeated by the melodramatic ethos.4 A visual performance of the film Jacques Becker's Casque d'or was analyzed with a focus on a classical chanson of "Le temps des cerises" by Mikihara, who presented a lot of melodramatic devices embedded in the film.5 Uchida's contribution was in his assertion that melodrama made itself developed by tipping its balance from the form (music) to the content (play). Thus, according to his argument, the usurpation of the throne of the popular arts by the film was inevitable.

我们对情节剧及其对19世纪欧洲其他戏剧艺术的影响和影响的研究，产生了以下独特但相互关联的贡献。[1]冈田克也在两次访问慕尼黑和苏黎世期间，对“大歌剧”的戏剧期刊和表演细节进行了研究。阅读迈耶比尔的《胡格诺派》揭示了情节剧技巧与大歌剧风格之间的一种有趣的联系：“大歌剧”只能是一种充满壮观场面和浪漫爱情的宏伟表演。根据伊藤的说法，浪漫主义的庸俗化版本是理解19^世纪欧洲流行戏剧的关键<th>。他的论点是基于对莱哈尔的《齐贡涅列贝》的分析。3藤野从瓦格纳的《波丽亚的哑剧》（莱哈尔的剧本）中读出了一种情节剧的技巧，从而揭示了情节剧与政治的秘密关联。这是惊人的澄清如何欧洲艺术和社会普遍渗透的情节剧的风气。4一个视觉表现的电影雅克贝克尔的Casque d'or进行了分析，重点是一个经典的香颂“Le temps des cerises”的Mikihara，他提出了许多嵌入电影中的情节剧手段。内田的贡献在于他断言情节剧是通过将其从形式（音乐）到内容（游戏）的平衡。因此，根据他的论点，电影篡夺流行艺术的宝座是不可避免的。