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摘要

尽管莎士比亚在19世纪的俄罗斯文学作品受到了很好的关注,但人们对他死后的音乐却很少关注。本章从三个互补的角度考察莎士比亚在19世纪俄罗斯音乐中的地位。首先,它将考虑莎士比亚的人物和情节是如何在本世纪中叶的交响诗中被采用的,特别关注巴拉基列夫为《李尔王》所作的序曲。其次,它将研究莎士比亚戏剧舞台作品中音乐的使用,不仅以巴拉基列夫为《李尔王》创作的配乐为例,还以柴可夫斯基为《哈姆雷特》创作的配乐为例(而不是他更著名的交响诗《罗密欧与朱丽叶》和《暴风雨》)。最后,通过讨论穆索尔斯基对普希金的鲍里斯·戈杜诺夫的处理,探讨了第三种接受模式。穆索尔斯基没有直接以莎士比亚为背景,而是对文学影响进行了三角分析,他借鉴了普希金的历史剧(被广泛认为是试图引入莎士比亚的原则,以使自己与法国新古典主义的原则保持距离),以此来与意大利的歌剧行为模式(包括许多莎士比亚主题)保持距离。
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Shekspirshchina
Although Shakespeare’s literary reception in nineteenth-century Russia has been well mapped, less attention has been given to his musical afterlife. This chapter examines Shakespeare’s place in nineteenth-century Russian music from three complementary perspectives. First, it will consider how Shakespeare’s characters and plots were taken up in the mid-century tone poem, with a particular focus on Balakirev’s overture to King Lear. Second, it will examine the use of music in stage productions of Shakespeare’s plays, taking by way of example not just Balakirev’s incidental music for King Lear, but also Tchaikovsky’s music for Hamlet (rather than his better-known tone poems, Romeo and Juliet and The Tempest). Finally, a third model of reception is explored in the form of a discussion of Musorgsky’s treatment of Pushkin’s Boris Godunov. Rather than setting Shakespeare directly, Musorgsky engages in a triangulation of literary influence, drawing on Pushkin’s historical drama (widely regarded as an attempt to import Shakespearean principles as a way of distancing himself from the precepts of French neo-classicism) as a way of distancing himself from Italian models of operatic action (including many on Shakespearean themes).
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