輔仁大學天主教學術研究院

為配合輔仁大學第一屆天主教國際學術研討會的舉行，本院特規劃學術演講，讓校內師生與各界更為熟悉天主教學術研究之可能面向與議題。本場主講人Prof. Siglind Bruhn為University of Michigan人文科學研究院之專任研究員，著作豐富，專長領域為二十世紀音樂的跨藝術與詮釋議題，歡迎校內師生與各界踴躍參加。
 

創作於1933-1934年間的歌劇《畫家馬蒂斯》（Mathis der Maler）中的靈性主題，將三位歷史時期差異很大的人物畫出了一條連結線：德國作曲家興德密特（Paul Hindemith, 1895-1963）、他在歌劇中所描繪的宗教藝術家馬蒂斯．格呂內華德（Mathis Grünewald, ca.1480-1531）、以及格呂內華德在他的伊森海姆祭壇畫（Isenheim Altarpiece）中所強調的早期基督徒隱士安東（Antony, ca. 251-356）。他們三人儘管處於不同歷史環境之中，但卻對所經歷的矛盾衝突達致類似的解答，這與他們均強調對於來自外在的政治與社會的責任，以及對來自內心的靈性召喚的回應有關。

此一橫跨數個世紀、穿梭於多種藝術媒材與類型的主題，可以透過五階段的詮釋過程來呈現。演講將會追溯此一過程，對照祭壇畫上的相關圖像，呈現這些圖畫在歌劇中的角色，興德密特對於做為劇戲重心的核心衝突的處理，以及音樂做為靈性解釋的力量。

 

 

[Online Registration]
Time: 2009.4.30 (Thu) 1:30-3:00pm

The spiritual subject matter of the opera “Mathis der Maler”, composed in 1933-1934, opens a window toward a parallel linking three lives from very different historical eras. The German composer Paul Hindemith (1895-1963), the religious artist Mathis Grünewald (ca.1480-1531) whom Hindemith portrayed in his opera, and the early Christian hermit Antony (ca. 251-356), whom Grünewald highlighted in his Isenheim Altarpiece, arrive at comparable answers to conflicts that, while different in detail owing to their dissimilar historical circumstances, are related in their emphasis on responsibility to political and social requests from the outside and the spiritual calling from the inside.

The representation this thematic found throughout the centuries in the various artistic media and genres can be depicted as a five-tiered process of paradigmatic interpretation. The talk will trace this process with reference to the relevant images from the altarpiece, these panels' role in the opera, Hindemith's dramatic couching of the central conflict and the music's power of spiritual comment.