以音樂堆砌戲劇： 梅湘歌劇《阿西西的聖方濟》第三景 〈親吻痲瘋病人〉

Abstract

梅湘於1975-1983年所創作的歌劇《阿西西的聖方濟》(Saint François d’Assise)，係集梅湘音樂語言大成之作品。雖然大部分學者皆肯定其音樂上的傑出成就，然而，《聖方濟》孱弱的、無發展的戲劇性卻屢屢招致批評。由於歌劇中缺乏衝突性以及強烈的情緒起伏、整體的劇情推衍緩慢而凝滯，再加上《聖方濟》內含深奧的神學哲思，使這部作品常常被類比為神劇，或中世紀的禮儀劇。

事實上，梅湘面對此部歌劇「無戲劇性」的攻訐聲浪時，曾明確提出歌劇中具有戲劇性的場景做為反駁；其中，第三景〈親吻痲瘋病人〉由於具有獨特的戲劇性與情緒，並隱含「雙重奇蹟」，更是作曲家心目中「戲劇性」的立體呈現。

本論文以凱姆(Stefan Keym)於2002年所提出的「音磚」(Baustein)與「馬賽克形式」(Mosaikform)概念，逐一分析第三景所有音磚，探討梅湘如何將其獨特的音樂語言鎔鑄，設計出各色精緻音磚，並配合劇本分析，一窺作曲家如何運用音磚架構出音樂的戲劇空間，並形塑心目中的戲劇性與情緒。最後，檢視梅湘如何融淬音樂所營造之「眩懾」(éblouissement)、宗教奧義的傳達，以及精心安排的戲劇情緒，譜成一部前所未有的宗教奧義之音樂戲劇，也讓〈親吻痲瘋病人〉在整部《聖方濟》之中，恆久地佔有特殊且關鍵性之地位。Saint François d’Assise, an opera composed by Olivier Messiaen from 1975 to 1983, is undoubtedly the most representative work of Messiaesen’s music languages. However, due to its lack of emotional conflicts, static story line and rich theological reflection, Saint François d’Assise has long been criticized as lacking of drama. It was even criticized as “more an Oratorio, or a medieval mysterious drama, than an opera”

Facing this kind of accusations, Messiaen refuted by pointing out the dramatic element in some scenes. Among all, the third scene “Le Baiser au Lepéreux” , with its unique dramatic element, emotions and an implication of “double miracle”, became the best representation of Messiens’ style of “drama”.

Adopting “mosaic form” (Mosaikform), the method special for analyzing Messiaen’s music, proposed by Stefan Keym in 2002, this thesis examines all the music items (Bausteins) of “Le Baiser au Lepéreux” to discuss the interrelationship between music and libretto. It will be argued that by successfully merging “dazzle”(éblouissement), Theology and some unique emotions together, “Le Baiser au Lepéreux” becomes a synthesis of Messiaen’s music and the significant scene of Saint François d’Assise.