“歌剧本性”再思——统合声音与意义的“人声”问题  

Tracing the Origin of"Operatic Nature":The"Voice"that Integrates Sound and Meaning

作　　者：王敦[1] Wang Dun

机构地区：[1]中国人民大学

出　　处：《中国音乐》2024年第3期38-45,共8页Chinese Music

基　　金：2018年度国家社会科学基金一般项目“听觉文化研究的话语建构研究”(项目编号:18BZW009)的研究成果。

摘　　要：“歌剧本性为戏剧性”这个命题值得再思“。戏剧性”是概念,歌剧本性是要落实在人的发声状态里才谈得上得到呈现。人的发声也不等于狭义的人声概念,而是比“音乐学“”音乐”“戏剧”等更原初的存在。人的发声是“发自肺腑”的,发声所承载的意义和情动并不呈现在语法和词汇里,而是随同语句从肺腑发出。歌剧是人声的集大成者和试验场,它集声音情动、语言表意与思维活动为一身。歌剧作曲家、剧作家和表演家将分化之后的声音、语言、意义活动,借助“内在嗓音”的“戏剧仪式化发声”,重新整合为浑然一体的综合性艺术。这一思路借鉴了法国梅洛-庞蒂对声音、语言、意义问题所做的原初性思考和美国唐·伊德对于发声的“声音现象学”思考。Contemporary pianist Yuja Wang has ascended as a prominent figure in the classical music realm,owThe assertion that"opera is inherently dramatic"warrants reconsideration.The essence of opera is primarily a state requiring description and explanation rather than a mere concept.The concept of the"Dramatic"necessitates implementation in the human voice for presentation.The human voice originates from the bodily heart,and the meaning and emotions conveyed through vocalization transcend grammar and vocabulary,emanating from the bodily heart alongside language utterances.Opera serves as the pinnacle and testing ground for the human voice,harmonizing sound,emotion,language,and cognitive activities.Composers,playwrights,and performers in opera integrate differentiated sound,language,and meaning activities into a cohesive and comprehensive art through the"theatrical ceremonial vocalization"of the"inner voice."This concept draws inspiration from the original ideas of French philosopher Merleau-Ponty regarding voice,language,and meaning,as well as the"phenomenology of voice"proposed by American philosopher Don Ihde.

关 键 词：歌剧 戏剧性 梅洛-庞蒂 声音现象学 音乐学 

分 类 号：J617[艺术—音乐]