歌劇中女僕角色之詠嘆調分析與詮釋—以瑟碧娜、 黛絲碧娜、恩馨為例

本論文以「女僕」的主題貫穿全文，筆者從三部歌劇中選擇六首詠嘆調的曲目，依序為〈我那易怒的主人〉(Stizzoso, mio stizzoso)、〈你會想念瑟碧娜〉(A Serpina penserete)、〈妳想在男人和士兵身上找到忠誠〉(In uomini, in soldati, sperare fedelta?)、〈一個十五歲的女人〉(Una donna a quindici anni)、〈當一個纖細的年輕人走過來〉(Kommt ein schlanker Bursch gegangen)和〈我曾夢見過世的表姐〉 (Einst träumte meiner sel’gen Base)。第一章的緒論講述筆者選擇研究女僕相關的契機，以及研究的方法與範圍，第二章則是針對「女僕」這個名詞作定義，並且統整其歷史和文化脈絡，而接著在第三章至第五章以巴洛克、古典和浪漫三個時期的歌劇為例，分別為裴高雷西 (Giovanni Battista Pergolesi, 1710-1736)的幕間劇《管家女僕》(La serva padrona, 1733)、莫札特(Wolfgang Amadeus Mozart，1756-1791)的喜歌劇《女人皆如此》 (Così fan tutte, 1790)和韋伯(Carl Maria Friedrich Ernst von Weber，1786-1826) 的德國歌唱劇《魔彈射手》(Der Freischütz, 1821)，各取兩首詠嘆調作為代表，深入探討不同風格作曲家筆下的女僕角色，最後第六章結論會著重於比較三齣歌劇中女僕的個別差異，分別在社會背景、戲劇詮釋和音樂詮釋上作分析。

關鍵字

女僕；裴高雷西；管家女僕；瑟碧娜；莫札特；女人皆如此；黛絲碧娜；約翰史特勞斯；魔彈射手；恩馨

並列摘要

Taking the theme of “maid” throughout this paper, the author select six pieces of arias from three operas, including “Stizzoso, mio stizzoso”, “A Serpina penserete”, “In uomini, in soldati, sperare fedelta?”, “Una donna a quindici anni”, “Kommt ein schlanker Bursch gegangen” and “Einst träumte meiner sel’gen Base”. First chapter describes the method and scope of the research and the reason why the author choose to study maid-related materials. Second chapter defines the term “maid” and integrates its historical and cultural context. From third chapter to fifth chapter, the author take three operas as examples for “maid”, including Baroque, Classical and Romanticism. They are “La serva padrona” (1733) which is an Intermezzo composed by Giovanni Battista Pergolesi (1710-1736), and “Così fan tutte” (1790) which is an Opera Buffa composed by Wolfgang Amadeus Mozart (1756-1791), and “Der Freischütz” (1821) which is a Singspiel composed by Carl Maria Friedrich Ernst von Weber (1786-1826).For each opera, the author take two arias as representatives to deeply discuss the maid character written by different styles of composers. Finally, sixth chapter will focus on the differences between three maids and the analysis under the social background, interpretation of drama and interpretation of music.