바그너의 오페라 미학 : 오페라 「파르지팔」을 중심으로 = Wagner’s opera aesthetics : focusing on opera “Parsifal”

다국어 초록 (Multilingual Abstract)

Gesamtkunstwerk, that which unites all art forms - music, poetry, dance, painting and drama - into one art work, was coined by the outstanding musical artist, Richard Wagner. It was from this perspective that he created a new style of opera, Musikdrama, the product of a fusion of the separate arts.
Wagner's Musikdrama did not of course evolve in isolation, but was rather greatly influenced by Schopenhauer's philosophy, Shakespeare's tragedies, and Beethoven's masterpieces. Wagner did understand, however, that the correlation between music and drama is very important, and it is in this paper that I compare and analyze the relationship between music and drama that played such an important role in the creation of Wagnerian opera.
Another critical influence upon Wagner and his operatic works was his fascination with classical Greece. This had much to do with the fact that Greek drama was an art form in which all the arts converged into a single purpose. Two aspects of Greek culture which were of particular interest to Wagner were, first, the social and religious roles of Greek theater, and second, the myths that provided the content for Greek poetry and drama.
In consideration of his particular interest, I have examined Parsifal, for the music and drama are inseparable. It should also be noted that in spite of being a story of Christian virtues and aspirations, Parsifal does not draw its details from Biblical sources. Rather, Parsifal borrows from medieval romances such as Wolfram von Eschenbach's thirteenth-century poem, Parsifal, and also from the teachings and legends of Buddha. The poetic and musical marriage of Christian legends and sacraments with Buddhist legends and teachings is a truly extraordinary idea; however, Wagner saw no conflict with this at all. In fact, it appears that in Parsifal, Wagner attempted to reconcile pagan and Christian ideas.

목차 (Table of Contents)

• 목적
• Ⅰ. 들어가는 글
• Ⅱ. 오페라에 미친 바그너 세계관의 변화
• 1. 바그너의 초창기 오페라: 「요정들」-「연애금지」-「리엔치」
• 2. 바그너의 본격적인 오페라: 「방황하는 네덜란드인」-「탄호이저」-「로엔그린」
• 3. 바그너에게 있어서 정치와 예술의 상관성
• Ⅲ. 바그너의 오페라 미학
• 1. 그리스 비극과 신화
• 2. 시와 음악의 이상적 결합
• Ⅴ. 나오는 글
• 참고문헌
• ABSTRACT

참고문헌 (Reference)

1 "한 권으로 읽는 니체" 푸른숲 2001

2 "작곡가별 명곡해설 라이브러리 2" 음악세계 1999

3 "이론과 실천" 1994

4 "오페라의 유혹" 예담 2004

5 "오페라에 있어서 음악과 극의 상관성" 13 : 2005

6 "쉽게 읽는 쇼펜하우어 의지와 표상으로서의 세계" 이학사 2004

7 "바그너의 음악극 개념에 대한 미학적 고찰" 1987

8 "바그너의 생애와 예술" 느티나무 1997

9 "바그너와 철학 트리스탄 코드" 심산 2005

10 "바그너 오딧세이" 씨디가이드 2002

11 "바그너 세기말의 오페라" 시공사 2005

12 "그리스 로마 신화" 웅진닷컴 2001

13 "http home c2i net monsalvat"

14 "Wagners Parsifal The Journey of a Soul" 2000

15 "The Powers of Music Aesthetic Theory and Invention of Opera" Transaction Publishers 1994

16 "Selection and introduction by Carl Dahlhaus" 1972

17 "Nietzsche's Philosophy of Art" Cambridge University Press 1992

18 "Athena Sings Wagner and the Greeks" 2003

19 "Aspects of Wagner" Oxford University Press 1988

20 "20세기 음악미학 이론" 심설당 2002