評論
打印
Professor:The word opera means work, actually it means works.
教授:歌劇一詞的意思其實是作品。
It's the plural of the word opus from the Latin.
實際上，它的意思是很多作品，是拉丁語中opus的復數形式。
And in Italian it refers in general to works of art.
在意大利語中，它總體指的就是藝術作品。
Opera Lyric or lyric of opera refers to what we think of as opera, the musical drama.
歌劇歌詞或者歌劇指的就是我們說的歌劇，一音樂戲劇。
Opera was commonplace in Italy for almost thousands of years before it became commercial as a venture.
上千年了，歌劇在意大利一直都很普通，直到它作為一種行當被商業化了。
And during those years, several things happened primarily linguistic or thematic and both involving secularization.
而在那幾年，一些事情發生了，主要是語言和主題的變化，而且兩者都涉及到了世俗化的過程。
Musical drama started in the churches.
歌劇是從教堂里發源來的。
It was an educational tool.
它是一種教育工具，
It was used primarily as a vehicle for teaching religion and was generally presented in the Latin,
用來教授宗教，而且多數是由拉丁語寫成的。
the language of the Christian Church which had considerable influence in Italy at that time.
拉丁語是教堂使用的語言，而且在意大利影響很廣。
But the language of everyday life was evolving in European at a certain point in the middle ages it was really only merchants, Socratics and clergy who can deal with Latin.
但歐洲民間的日常用語在演變，在中世紀的某段時間，真的只有貴族、商人和神職人員才會拉丁文。
The vast majority of the population used their own regional vernacular in all aspects to their lives.
在生活的大多數時間里，大多數人都會用地方語言。
And so in what is now Italy, operas quit being presented in Latin and started being presented in Italian.
所以在意大利，歌劇不再用拉丁文，而開始使用意大利語。
And once that happened, the themes of the opera presentations also started to change.
一旦這改變發生，歌劇表達的主題也開始發生了改變。
And musical drama moved from the church to the plaza right outside the church.
而且音樂劇從教堂搬到了教堂外面的廣場上。
And the themes again, the themes changed.
還有就是主題，主題也變了。
And opera was no longer about teaching religion as it was about satire and about expressing the ideas of society your government without committing yourself to writing and risking imprisonment or persecution, or what have you.
歌劇不再是關于教授宗教，而是諷刺劇，關于社會還有你的政府，還不用擔心因為書面上的東西而被扔進監獄或者受到迫害等等。
Opera, as we think of it, is of course a rather restive form.
歌劇，當我們想它的時候，其實是一個被復興的藝術。
It is the melodious drama of ancient Greek theater, the term 'melodious drama' being shortened eventually to 'melodrama' because operas frequently are melodramatic, not to say unrealistic.
它是富有聲調優美的一段戲劇，源自古希臘劇院。聲調優美的戲劇被最終簡化成了情節劇，因為歌劇往往是音樂性的，而且有戲劇情節的，甚至超現實的。
And the group that put the first operas together that we have today even, were, they were…well…it was a group of men that included GalloLeo's father Venchesil, and they met in Florence he and a group of friends of the counts of the party and they formed what is called the Camarola DayirBardy.
創作出第一部我們現在可知的戲劇的人們中，有一位是伽利略的父親凡山杜他和一群朋友在佛羅倫薩碰面了。然后組建了一個叫做 Camarola Dayir Bardy的樂隊。
And they took classical theater and reproduced it in the Renaissance's time.
他們將傳統戲劇在文藝復興時期重新演繹。
This…uh…this produced some of the operas that we have today.
這產生了一些我們現在看到的一些歌劇。
Now what happened in the following centuries is very simple.
那么，在接下來的幾個世紀里發生的事情就很簡單。
Opera originated in Italy but was not confined to Italy any more than the Italians were.
歌劇發源于意大利，但就像意大利人并不只被禁錮在意大利。
And so as the Italians migrated across Europe, they carried theater with them and opera specifically because it was an Italian form.
當意大利移民橫跨歐洲，他們帶來了戲劇，尤其是歌劇，因為它就是意大利特色的。
What happened is that the major divide in opera that endures today took place.
今天我們看到的歌劇的格局就在那時候形成了。
The French said opera auto-reflect the rhythm and Kevin of dramatic literature, bearing in mind that we are talking about the golden age in French literature.
法國人認為歌劇就應該反映戲劇文學的韻律性和節奏性，想想看我們講的是黃金時代的法國，所以他們將音樂的重要性置于音韻優美的表達之后。
And so the music was secondary, if you will, to the dramatic Kevin of language, to the way the rhythm of language was used to express feeling and used to add drama and of course as a result instead of arias or solos, which would come to dominated Italian opera.
所以自然而然，與其像是意大利歌劇的主導風格—詠嘆調和獨唱，
The French relied on that what is the Italian called French Word 1 or French Word 2 in English. The lyrics were spoken, frequently to the accompany of a harpsichord.
法國人主要使用吟詠調，這種形式中，歌詞通常被朗誦出來，伴有大提琴伴奏。
The French said you really cannot talk about real people who lived in opera and they relied on mythology to give them their characters and their plots, mythology, the past old traditions, the novels of chivalry or the epics of chivalry out of the middle Ages.
法國人認為，歌劇中不應該談論普通人，所以他們在神話中尋找可以賦人物的性格和情節，從神話故事，過去的傳統故事，騎士小說，中世紀的騎士史詩等等。
The Italian said, no this is a great historical tool and what a better way to educate the public about Neo or Attalla or any number of people than to put them into a play they can see and listen to.
可意大利人覺得，不，歌劇可是一個記錄歷史的好工具，可以通過看和聽，來用來教授人們關于尼羅和匈奴王的功績。
The English appropriated opera after the French.
英國人在法國人之后也接受了歌劇。
Opera came late to England because all theaters, public theaters were closed, of course, during their civil war.
歌劇進入英國很晚，因為所有的劇院，公共劇場都在內戰中停業。
And it wasn't until the restoration in 1660 that public theaters again opened and opera took off.
直到 1660 的修復令才使得公共劇院重新開放，而歌劇隨之進入了英國。
The English made a major adjustment to opera and exported what they had done to opera back to Italy.
英國人為意大利歌劇做出了進一步的改進，并將它們輸入回了意大利。
So that you have this circle of musical influences, the Italians invented opera, the French adapted it, the English adopted it, and the Italians took it back.
所以你看到了音樂互相影響而形成的環狀效應。意大利人發明了歌劇，法國人修改了它，英國人吸收了它，而意大利人又收回了歌劇。
It came to America late and was considered to elites for the general public.
歌劇傳進美國的時間較晚，并被看作是脫離大眾的精英文化。
But Broadway musicals fulfilled a similar function for a great long while.
但百老匯的音樂劇在很長一段時間里扮演了相似的角色。
George Champon wrote about opera, "If an extraterrestrial being or two appear before us and say, what is your society like, what is this Earth thing all about, you could do worse than take that creature to an opera."
喬治?常盤在寫關于歌劇時說如果一兩個外星物種突然出現問我們:你的社會是什么樣，地球到底是什么回事？你至少可以帶著它去看歌劇。
Because opera does, after all, begin with a man and a woman and any motion.
因為歌劇確實，不管怎樣，是由一個男人，一個女人及隨便什么動作開始的。
