“悲剧几何学”实验:斯特拉文斯基《俄狄浦斯王》音乐戏剧观念与实践“四因说”

Experiments of Tragic Geometry:The Four Causes of Musical Drama Concepts and Practices in Stravinsky's Oedipus Rex

文章以斯特拉文斯基“悲剧几何学”概念原点,提出其音乐戏剧观念与实践“四因说”,来探讨其音乐戏剧《俄狄浦斯王》的“四因”:“起因”——基于斯氏个人“反浪漫主义”批判,探讨他为何随着历史时间轴从早期芭蕾舞剧作品转而创作这部音乐戏剧《俄狄浦斯王》;“外因”——论证斯氏为何而又如何在“新古典主义”阶段重新理解此剧基于悲剧主题的现代性追求;“内因”——根据斯氏“几何学”思路,分析此部作品中所设置的两个戏剧“空间”;“动因”——斯氏自身定位的“中心轴”思维如何体现戏剧的中心、表情、风格。

Based on Stravinsky's concept of tragic geometry,the article proposes The four causes of musical drama concepts and practices, and then discuss the four causes of his musical drama Oedipus Rex. Through the original causes,based on Stravinsky's personal “anti-romantic” critique, explores why he moved from his early ballet works to the musical drama “Oedipus Rex”along the historical timeline. The external causes, the author demonstrate why and how Stravinsky reinterpreted the quest for modernity in the Oedipus Rex which based on the theme of tragedy in the neoclassical period. The internal cause is Stravinsky's ideas on the geometry,which be the basis of analyzing the two theatrical spaces set up in the work. The motivation is Axis-thinking upon Stravinsky's own position,the author research how it reflects the center,expression and style of the play.