摘要

十九世紀法國的社會環境動盪不安，雖然歷經一七八九年大革命，但仍未得平息，王朝與政權短時間內不停的更迭，在這樣的大時代背景下，環境的因素影響部分藝術家們的創作，因而從他們的作品中能一窺當時社會之面貌。本文以奧芬巴哈輕歌劇《地獄裡的奧菲歐》為主軸，探討作品中反映的社會面貌與分析此曲之創作手法，以及這部作品與當時社會環境之關係。
本論文除緒論與結論外，共分為三章。第一章概述奧芬巴哈於求學過程、工作經歷、劇院的經歷一直到開設巴黎人喜劇院這段時期對他的影響；第二章針對當時的社會背景－領導者統治之下的音樂環境與文學思潮－加以了解其對奧芬巴哈的影響；第三章則著重於《地獄裡的奧菲歐》一曲劇情與音樂部分，除希臘神話奧菲歐與尤麗狄絲題材不同的轉變外，音樂以分析〈起義吧！神和半神〉、〈帶他們進來〉與〈地域裡的加羅普舞曲〉三首曲目為主，分別探討創作手法與如何以此作呈現當時社會面貌。奧芬巴哈此劇在演出後，不僅受到觀眾喜愛，使他的名聲享譽國際，也奠定輕歌劇之地位，為後代作曲家開創另一個創作方向。

Abstract

During the first half of the 19th century, it was a period of radical social upheaval in France. Despite the fact that French revolution ended in the late eighteenth century (1789-1799), French regimes were still unstable; most composers’ music was shaped by the revolutionary ideals. Indeed, much of the music, including Offenbach’s works, during this period reflects different social aspects. Thus, the study explores Offenbach’s Orpheus in the Underworld.The purposes of this research are to examine different levels of social aspects such as dictatorship and social decaying projected in the selected work. I shall also analyze how Offenbach reflects French society in composition, in relation to plots and music.
The thesis consists of three chapters, with an introduction and a conclusion. The first chapter provides a summary of Offenbach’s life in his early creative career. The next chapter focuses on the social background of France, discussing different developments of music under the French leaderships from Louis XIV to Napoleon III. In addition to politic, this chapter explores influences of literature in general on Offenbach’s Orpheus in the Underworld.The third chapter discusses the transformations of the Orfeo’s mythology since middle ages. Furthermore, I shall provide a detail analysis of the operetta, especially To arms, Bring them in and Galop Infernal. The conclusion summarizes the findings of the study.

目 錄
論文審定書…………………………………………………………… i
誌謝…………………………………………………………………… ii
中文摘要……………………………………………………………… iii
英文摘要……………………………………………………………… iv
緒論 …………………………………………………………………… 1
第一章 奧芬巴哈的音樂生涯 ……………………………………11
第一節 奧芬巴哈的求學過程與工作經歷 ………………………… 12
第二節 奧芬巴哈的劇院經歷與巴黎人喜劇院 ……………………….19

第二章 十九世紀中法國的社會與音樂環境 ……………………33
第一節 十九世紀中法國政治與音樂環境 …………………………….34
第二節 十九世紀法國文學思潮 …………………………………….46

第三章 《地獄裡的奧菲歐》中劇情與音樂內涵 ……………….57
第一節 希臘神話奧菲歐與尤麗狄絲題材不同的轉變 ………………….58
第二節 《地獄裡的奧菲歐》中呈現的社會層面 ……………………….69

結論 ……………………………………………………………….… 99

參考文獻……………………………………………………………… 106
附錄一 ……………………………………………………………… 109
附錄二 ……………………………………………………………… 110
附錄三 ……………………………………………………………… 112
附錄四 ……………………………………………………………… 113

圖　次
圖3-1奧菲歐壁畫的例子………………………………………………66
圖3-2中心圓的例子……………………………………………………67
圖3-3多雷於一八五八年所描繪奧芬巴哈〈地獄裡的加羅普舞曲〉演出一景……………………………………………………………86
圖3-4巴黎歌劇院中的化妝舞會………………………………………93


表 次
表1-1 巴黎當局授權給奧芬巴哈開設劇院的項目列表……………… 26
表2-1 一八O六至一八O七年劇院名稱與種類限制表……………… 40
表3-1採用希臘神話奧菲歐題材的音樂作品年代表（1600-1858）…… 65
表3-2《地獄裡的奧菲歐》曲目與演出人員表………………………… 69

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樂譜
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