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Light Music meretrix Offenbach, ‘Rondeau de la Lettre’ (Métella), La Vie parisienne, Act II
Cambridge Opera Journal Pub Date : 2016-07-01 , DOI: 10.1017/s0954586716000252
Heather Hadlock

To Wagner’s characterisation of Italian opera as a courtesan and French opera as a coquette, Émile Zola would add that operetta and its performers are outright whores. Zola’s novel Nana (1880) establishes its tone of disgust for Second Empire folly and decadence through the grimy, gaudy setting of a fictionalised Théâtre des Variétés, whose impresario Bordenave repeatedly instructs visitors to ‘Call it my brothel!’ (‘Dites mon bordel!’). The fictional operetta La Blonde Vénus (a thinly disguised imitation of Offenbach’s Orphée aux enfers and La Belle Hélène) consists of inane, suggestive songs accompanied by sneering instruments, and as for Nana, the much-touted star, she sings ‘like a corncrake’; her stage movements consist of hair tossing, hip thrusts and a high kick. At first it seems her performance will fail, as the audience responds with derision, but artistic standards give way to pornographic ones as Nana dominates the audience with her sexual charisma. The fictional Nana, in and out of her role as the ‘Blonde Venus’, joins a gallery of operatic variations on the theme of ‘love for a prostitute’, to borrow Freud’s 1910 category of a pathological type of love. La traviata presents the neurosis in its most sentimental form, as the ‘fallen woman’ reveals her courtesan persona and behaviour to be a mask over a monogamous heart. Freud adds that the love-object need not be a literal prostitute, but only ‘a woman ... whose fidelity and reliability are open to some doubt’, and Manon presents this type in a more intractable form, so that the devotion of Des Grieux appears increasingly self-deluding, even masochistic. Finally Nana appears as the most overtly misogynistic incarnation, a commodified urban Circe who reduces men of all social classes to beasts. Since its inception in the 1850s, and especially after the 1870s, the operetta as personified in Nana has carried the stigma of a subhuman and socially destructive force. On the production side, this urban popular genre appears as feigning, manipulation, counterfeit art, achieving

中文翻译:

轻音乐欧弗里巴赫(Offenbach),“朗多·德拉·勒特雷(Rodeau de la Lettre)”(梅特拉),拉维·帕西恩(Parvienne),第二幕

在瓦格纳(Wagner)将意大利歌剧描绘成妓女,将法国歌剧描绘成风骚的同时,埃米尔·佐拉(ÉmileZola)补充说,歌剧和其表演者都是妓女。佐拉的小说《娜娜》(Nana,1880年)通过虚构的虚幻的ThéâtredesVariétés的肮脏,华丽的背景,为第二帝国的愚蠢和decade废树立了厌恶的语调。(“蒙伯德(Dite mon bordel!)”)。虚构的轻歌剧《 La BlondeVénus》(奥芬巴赫的《Orphéeaux enfers》和《 La BelleHélène》是一种伪装的模仿)由无聊的暗示性歌曲和冷笑的乐器组成,而对于备受吹捧的明星Nana来说,她的歌声就像“玉米棒”。 ; 她的舞台动作包括甩头发,推臀部和高踢腿。起初,她的表演似乎会失败,当观众以嘲讽的方式回应时,但由于娜娜以她的性格魅力主导观众,因此艺术标准被色情标准所取代。虚构的娜娜(Nana)扮演“金发碧眼的金星”,以“爱妓女”为主题,加入歌剧变奏曲画廊,借用弗洛伊德1910年的病理类型的爱。La traviata以最感人的形式呈现神经症,因为“堕落的女人”展现出她的礼貌性格和举止是一夫一妻制心脏的掩盖。弗洛伊德补充说,爱的对象不一定是个妓女,而只不过是“一个女人……其忠诚和可靠值得怀疑”,而马农则以更难处理的形式提出了这种类型,因此德斯的奉献精神格里厄(Grieux)显得越来越自欺欺人,甚至自虐。最终,娜娜(Nana)成为最明显的厌恶女性的化身,一个都市化的杂技演员Circe,他将所有社会阶层的人沦为野兽。自1850年代创立以来,尤其是1870年代以后,在纳娜(Nana)拟人化的歌剧就带有一种超人类和社会破坏力的烙印。在生产方面,这种城市流行风格表现为假装,操纵,伪造艺术品,
更新日期:2016-07-01
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