摘要
20世纪50年代,受解构主义思潮的影响更多的艺术形式在创作的过程中开始抛弃传统观念中的预先设计好的"既定意图",开始摆脱结构主义对艺术的干预。形成了一种不确定性、无规则性和无中心性的特点。诺诺的歌剧《普罗米修斯》就是一部典型作品。诺诺在创作过程中追求人感知音乐的本质的问题,因此他去除掉了空间中的干扰(传统舞台声源的布局、传统歌剧声音的传播方式)创造出了一个依附于观演空间内部的听觉景观。因此,来自诺诺的歌剧《普罗米修斯》和《普罗米修斯的音乐空间》关联研究就成了我们的选题来源,也是我们理解《普罗米修斯的音乐空间》的一座桥梁,为观演空间设计研究提供了很好的借鉴。
The 1950s witnessed the creation of new art forms. It began to be free from the pre-designed＂ established intention＂ in traditional concepts, and got rid of the Structuralism intervention in art, which was derived from the thoughts of Deconstructivism. Under these circumstances, Nono＇s opera, Prometheus, is one of those typical artworks characterized by uncertainty, irregularity and non-centrality. Focusing on sensing the essence of music in the course of creation, Nono created an aural landscape clinging to the interior of performance space after eliminating the interference in space（such as the layout of the sound source with respect to the traditional stage and the medium of sound transmission with respect to traditional opera）. Therefore, we selected our topic based a study on the relationship between Prometheus and Prometheus＇ s Perspective on Music. The study created a bridge for comprehending Prometheus＇ s Perspective on Music, providing a good reference on the design of performance space.
出处
《建筑与文化》
2017年第1期82-83,共2页
Architecture & Culture
关键词
解构主义
音乐
观演空间
Deconstruction
Music
Theatre space
