夏邦提耶《豐饒的藝術》：關於跨域藝術的一齣戲

Marc-Antoine Charpentier's Les arts florissants: A Fable about Cross-Disciplinary Arts

車炎江(Che, Yen-Chiang)

夏邦提耶 ； 《豐饒的藝術》 ； 娛賓劇 ； 模擬 ； Charpentier ； Les arts florissants ； divertissement ； mimesis

關渡音樂學刊

38期（2024 / 09 / 01）

1 - 32

繁體中文;英文

法國巴洛克作曲家夏邦提耶（Marc-Antoine Charpentier, 1643-1704）長期受到忽視，直到廿世紀初才逐漸被學界發現他的不凡才華與卓越成就；即使如此，西洋音樂史書對他的記載與討論內容仍相對稀少，這也意味著現今學界對於這位作曲家的形貌、生平與作品所知尚淺。本文除了整理夏邦提耶生平之外，更找出他留下的一齣號稱歌劇的娛賓劇《豐饒的藝術》（Les arts florissants, H. 487, 1685-86）進行觀察研究。經分析後發現此劇不僅布局巧妙，近乎寓言劇的劇情設計匠心獨具，劇本甚至直接勾勒法王路易十四時代跨域藝術的已知成就與理想藍圖。夏邦提耶雖以相當有限的歌手選擇與樂團編制作為《豐饒的藝術》的音樂創作基礎，但他的音樂創意讓有限資源發揮驚人的敘事能力與戲劇「模擬」（mimesis）效果，成功地以音樂演繹關於跨域藝術的一齣戲。

French baroque composer Marc-Antoine Charpentier (1643-1704) has been long neglected until his gifted versatility and extraordinary achievement were rediscovered by musicologists first in the beginning of the twentieth century. Nevertheless, contents about him in the music history literature nowadays is still relatively rare, and we still remain limited knowledge of Charpentier so far about his physical appearance, life and compositions. This essay collected the information of Charpentier's life in order to know better about this composer and, moreover, one of his operatic divertissements, Les arts florissants (H. 487, 1685-86), will be studied and discussed. We may discover in this work, a fable of wit and elegance filled with allegorical characters, that the libretto was cleverly structured to silhouette the accomplishments in Louis XIV time and the ideal of cross-disciplinary arts on stage. Although under strict surveillance in chosen singers and ensembles, Charpentier had made the best use of them through his genius to create this divertissement as an amazing narrative and to perform its mimesis. After all, Les arts florissants was one of Charpentier's effective musical fable in cross-disciplinary arts.