The Crown of Ariadne, R. Murray Schafer's work for solo harp positioned within a large percussion set up, has become a gem of the solo harpist's contemporary repertoire. However, it is one that still brings up multiple questions with regards to modern performance practice for the twenty-first century harpist, as both a theatrical and a technical work. The aim of this article is to explore the performance practices associated with The Crown of Ariadne, especially the purpose and implications of the choreography. Does the written-out choreography serve a theatrical purpose, or is it used to illustrate the desired instrumental technique? If the choreography is purely technical, what are the implications of a performer not from the Salzedo tradition performing the work, and do the motions therefore become contrived or unnecessary? If it is theatrical, should the harpist approach learning the work as an actor, as well as a musician? The discussion will be divided into two main sections: the technique and performance styles of different harpists, and suggestions on how to prepare this work as an actor. My research has stemmed from comparing the written gestures to those found in dance notation, a series of interviews with harpists that have both performed and taught the work, discussions on the Carlos Salzedo and Marcel Grandjany traditions, and excerpts from Salzedo's literature. In addition, I will discuss how to approach this work as an actor and performer by analysing different acting techniques, discussing the role of The Crown of Ariadne in Schafer's larger work Partia V: The Crown of Ariadne, and examining the Patria cycle with regards to Schafer's role in the environmental theatre movement.

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R. Murray Schafer 的《阿里阿德涅之冠》中的编舞——技术还是戏剧？

《阿里阿德涅之冠》，R. Murray Schafer 在大型打击乐装置中的独奏竖琴作品，已成为独奏竖琴演奏家当代曲目的瑰宝。然而，对于 21 世纪竖琴演奏家的现代表演实践，无论是作为戏剧作品还是技术作品，它仍然提出了多个问题。本文的目的是探索与《阿里阿德涅之冠》相关的表演实践，尤其是编舞的目的和意义。写出的编舞是用于戏剧目的，还是用于说明所需的器乐技巧？如果编舞纯粹是技术性的，那么不属于 Salzedo 传统的表演者表演该作品的意义是什么？这些动议是否因此变得人为或不必要？如果是戏剧，竖琴演奏者是否应该以演员和音乐家的身份学习这项工作？讨论将分为两个主要部分：不同竖琴家的技巧和表演风格，以及作为演员如何准备这部作品的建议。我的研究源于将书面手势与舞蹈记谱法中的手势进行比较、对表演和教授作品的竖琴家的一系列采访、对卡洛斯·萨尔泽多和马塞尔·格兰杰尼传统的讨论，以及萨尔泽多文学作品的摘录。此外，我将通过分析不同的表演技巧，讨论如何以演员和表演者的身份处理这部作品，讨论阿里阿德涅之冠在谢弗更大的作品 Partia V：阿里阿德涅之冠中的角色，