Melodramatic paradigme and chansons in twentieth-century Paris

1. 2.为了阐明情节剧的情感化效果，本文以《卡门》和《茶花女》为研究对象，从小说和歌剧两个方面分析了这两部作品中的情节剧成分，并区分了“爱情的六种模式”，即“犹豫不决的爱”、“自私的爱”和“自私的爱”。“禁忌之爱”、“错配之爱”、“疏远之爱”、“错过之爱”。典型的情节剧也有一些戏剧元素，如气氛上的“异国情调”和表演上的“哑剧”。将这些戏剧元素与歌曲歌词中的元素进行比较，可以看出这两个表演领域有很多共同之处。3.上面提到的“六种爱情模式”，在通俗剧中普遍存在，并不高雅，而是贴近大众。它们通常被认为是博爱的事实。从这个意义上说，分析它们是最相关的方法之一。 ...更多信息 这是一种对二十一世纪普通大众的人文精神的揭示。4.香颂常被说成是在短短的三分钟内表演“生活”，但仍然像其他艺术一样对我们的心灵产生深刻的影响。五、为了成立香颂研究会，我与国内许多机构交换意见与信息，并多次召开会议，阅读研究论文。我曾两次到巴黎去收集有价值的材料，并考察奥林匹亚、议会宫等“大”剧院，以及黑话、新剧院、穆弗塔尔和考马丁喜剧院等“小”剧院。有趣的是，小剧院显然被大对手打败了。现在很清楚，现在的巴黎更喜欢一种宏大的形式，这种形式需要管弦乐队，大量的观众和大声音。我们希望，在小剧场里复兴香颂，自然是更合适的场所，可以唤起表演者和小观众之间对艺术“真理”的亲和力，只有少数人能充分欣赏。我相信这是“复兴”香颂的唯一可行的方法。少

1.This research aims at analyzing several chansons --one of popular entertainments in France --, in light of the melodramatic framework.2.In order to clarify the emotionalizing effects employed in melodrama, I mainly focused on "Carmen" and "La Traviata", recognized for its melodramatic elements both in novels and in operas, and distinguished "the six patterns of love", namely "undecided love", "selfish love", "forbidden love", "love of misalliance", "estranged love ", "missed love". A typical melodrama also features such dramatic elements as "exoticism" in atmosphere and "pantomime" in performance. To compare these elements in dramaturgy to those in chanson lyrics, it was made clear that these two fields of performances have much in common.3.The above-mentioned "the six patterns of love", ubiquitous in melodrama, are not highbrow but close to the general public. They are commonly regarded as the facts of universal love. To analyze them, in that sense, is one of the most relevant metho … More ds to unravel the humanities of the general public in the twenty-first century.4.Chanson is often said to perform "life" in as short as three minutes, but still has a deep impact on our minds like the other arts can. I consider this research very unique in clarifying the melodramatic character of chansons.5.I exchanged opinions and information with many domestic institutions to pave the way in founding the Chanson Studies Society, where we held several meetings for reading research papers. I went twice to Paris for the collection of valuable materials and for the investigation of such "grands" theatres as Olympia, Palais des Congres, and "petits" theatres like Chat Noir, Nouveau Theatre, Mouffetard and Comedie Caumartin. It was interestingly evident that the smaller theatres were being beated by their bigger rivals. It is now clear that the present Paris preferred a grand form, which needs an orchestra, a large audience and large voice. We hope the revival of chansons in "petits" theatres which are naturally more appropriate venue to evoke an affinity between performers and a small audience for the artistic "truth" can be fully appreciated by only a few. I believe that is the only feasible way to "revive" chanson. Less