| 题名 |
威爾第的莎士比亞：論《奧泰羅》的時代性 |
| DOI |
10.30095/SYJH.200712.0001 |
| 作者 |
陳希茹 |
| 关键词 |
威爾第 ； 莎士比亞 ； 奧泰羅 ； 人物分析 ； 死亡 ； Verdi ； Shakespeare ； Otello ； Character analysis ； death |
| 期刊名称 |
中山人文學報 |
| 卷期/出版年月 |
24期（2007 / 12 / 01） |
| 页次 |
1 - 23 |
| 内容语文 |
繁體中文 |
| 中文摘要 |
本文旨在探討莎士比亞(William Shakespeare, 1564-1616)的原著《奧泰羅》(Otello)在歷經近三百年後如例再度重現於十九世紀音樂時空裡。早在十七世紀，文學家班•強生(Ben Johnson, 1572-1637)就已經在其《莎士比亞全集》第一版的前言中預言：「勝利啊！我的不列顛，你有一位讓全歐洲尊崇的人，他不屬於任何一個時代，而是永恆！」時至今日，這段話仍真實不假。當然，莎翁的偉大、影響力與永恆位毋庸置疑，不過在威爾第(Giuseppe Verdi, 1813-1901)與包益多(Arrigo Boito, 1842-1918)的歌劇詮釋下，莎士比亞的創作《奧泰羅》(Otello, 1887)有了另一層新的時代意涵。對此，本研究沒要從人物性格的設計以及音樂裡如例詮釋愛與死的看法兩方面進行探討：首先比較原著與歌劇文本在Jago、Otello、Desdemona三人情格刻劃方面的差異，藉此突顯屬於十九世紀時代的對立衝突性以及惡的美學觀；爾後，再以歌劇中第四幕的結束場景為出發點，探究音樂手法如何同樣地反映出十九世紀有別於莎士比亞時代的死亡觀。在本文的檢視下，威爾第再創作品的時代思想得以明確區隔；且就某程度而言，這也符合他對藝術應「創造事實」的期許。據此，或許我們可以借用班•強生的話再行補充－莎翁不僅永恆，他的作品詮釋也具有時代性！ |
| 英文摘要 |
This paper is to explore how Shakespeare's Otello be represented after three centuries in the music context of the nineteenth century, Early in the seventeenth century in a work Mr. William Shakespeare h Comedies, Histories and Tragedies (1623) the litterateur Ben Johnson (1572-1637) bias already forecasted in the preface titled ”To the memory of my beloved the author, Mr. William Shakespeare” as following: ”Triumph, my Britain, thou hast one to show To whom all Scenes of Europe homage owe. He was not of an age, but for alt time!” Till today this comment is still true. The greatness, impact and sustainability of Shakespeare are out of question. Nevertheless, through Verdi's and Boito's interpretations of opera, Shakespeare's Otello has won aesthetic meaning. Following this context and along different viewpoints of personality-character arrangement and music interpretation for love and death, this research is trying to explore: firstly, comparing the characters of Jago Otello and Desdemona separately in original text with them in opera text, the specific aesthetic viewpoints of conflict and evil in nineteenth century would in this way be clarified. Hence, basing on the ending of the act IV in the opera, the representation of different viewpoints of death in nineteenth century from that in the era of Shakespeare will be musically interpreted. Through the survey, we can then more clearly segment the Verdi's representations of aesthetic thinking in his works. Nonetheless, this approach is more or less in accordance with his expecting art as a form of ”creating the truth”. In this sense, leaning on the Ben Johnson's words, Shakespeare's spirit is not only eternal, the interpretations about him and his works are also according with the aesthetic trends of the nineteenth century. |
| 主题分类 |
人文學 >
人文學綜合 人文學 > 歷史學 人文學 > 藝術 |
| 参考文献 |
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