Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/111871
Title: 初探昆策與萊維「戲劇音樂劇」:以《伊麗莎白》、《莫扎特!》音樂與文本為例
The Primary Study on the “Drama Musical” of Michael Kunze and Sylvester Levay: A Case Study of the Music and Text in Elizabeth and Mozart!
Authors: 梁文菁
Liang, Wen-ching
楊渡歌
Yang, Duge
Keywords: 戲劇音樂劇
間離效果
命運悲劇
《伊麗莎白》
《莫扎特!》
米歇爾.昆策
西爾維斯特.萊維
Drama musical
Alienation
Fate tragedy
Elizabeth
Mozart!
Michael Kunze
Sylvester Levay
Issue Date: 2020
Abstract: 相對於百老匯與西區音樂劇創作的商業傾向,歐陸音樂劇尤其是德語音樂劇的創作展現了其非常強烈的經典化意願和趨向,其中最具代表性的當屬米歇爾.昆策(Michael Kunze)及西爾維斯特.萊維(Sylvester Levay)的一系列人物傳記劇。德語音樂劇以嚴肅而詭譎、衝突強烈卻浪漫入骨的風格,在世界舞台上獨樹一幟,昆策與萊維創作的一系列人物傳記劇傑作可謂功不可沒。 《伊麗莎白》與《莫扎特!》作為昆策與萊維最為知名的作品,其本身的藝術特徵也極能代表作者本人的戲劇觀念。《伊》和《莫》的間離性和命運感是其突出特點,在形式與內容兩方面提升了音樂劇的嚴肅性和藝術性。在音樂劇「音樂為王」觀念甚囂塵上的時候,昆策提出「戲劇為王」,認為在音樂劇中,戲劇才是最重要的一個環節。這個觀點對我們而言有非常重要的啟示。 於理查.羅傑斯(Richard Rodgers)和奥斯卡.漢默斯坦二世(Oscar Hammerstein II)之後,音樂劇逐漸從「音樂本位」移至「戲劇本位」,而在這個階段中,昆策與萊維是很重要的推動者和發展者。他們在其創作中形成了音樂劇經典化的三個體現:間離性、命運感、整體觀。 華語音樂劇界對昆策與萊維的研究幾乎為零,反映出對小語種音樂劇關注和研究不夠,而這在很大程度上形成了華語音樂劇創作研究發展的瓶頸。對昆策與萊維的作品創作研究,能給予我們更大的視野與想像,並給予我們更多創作的靈感和啟迪。
Compared with the commercial tendency of Broadway and West End musicals, the creation of continental musicals, especially German musicals, shows a very strong desire and tendency of canonization. The most representative one is a series of biographical plays by Michael Kunze and Sylvester Levay. German musicals stand out on the world stage for their serious, whimsical, conflicted but romantic styles, thanks largely to a series of biographical masterpieces by Kunze and Levay. Elizabeth and Mozart! are the most famous works of Kunze and Levay. Their artistic characteristics can also represent the author's own concepts of dramas. The alienation and sense of destiny of Elizabeth and Mozart! are the prominent characteristics, which enhance the seriousness and artistry of musicals in terms of form and content. When the concept of musicals that "music is king" was very popular then, Kunze put forward that "drama is king", believing that drama was the most important part in musicals. This point of view has shown important implications for us. After Richard Rodgers and Oscar Hammerstein II, musicals gradually developed from the "music-based" to the "theatrical-based" stage. During this period, Kunze and Levay were significant promoters and developers. They have formed three embodiment of the classicalization of musicals through their works: alienation, sense of destiny and the holistic view. For the staff of Chinese musicals, there are few studies on Kunze and Levay, which reflects the insufficient attention and research on musicals in minority languages. Therefore, to a large extent, it causes the bottleneck in the development of the research on the creation of Chinese musicals. The studies on the works of Kunze and Levay can give us broader vision and greater imagination, and give us more inspiration and enlightenment on creation.
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G060692030M%22.&%22.id.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/111871
Other Identifiers: G060692030M
Appears in Collections:學位論文

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