本論文主要探討二十世紀重要作曲家史特拉汶斯基 (Igor Fyodorovich Stravinsky, 1882-1971) 於1951年完成的歌劇《浪子歷程》(The Rake’s Progress)。《浪子歷程》為史特拉汶斯基創作的唯一一部三幕歌劇，故事來源為賀加斯 (William Hogarth, 1697-1764) 的系列畫作《浪子歷程》(A Rake’s Progress)，再由劇作家奧登 (Wystan Hugh Auden, 1907-1973) 和卡爾曼 (Chester Simon Kallman, 1921-1975) 改編而成。此歌劇演出後，引發了許多討論。包括，對於其中新古典主義的理念以及創作手法的質疑與批判。對於一個不曾創作如此規模歌劇的作曲家而言，《浪子歷程》之創作理念與手法絕對是值得探討的問題。本論文一開始將闡述史特拉汶斯基的生平，以及將其含有歌樂之舞台作品作風格上的綜觀，以作為研究《浪子歷程》之基底。接著，將重點放在《浪子歷程》的創作歷程和演出的狀況。之後再針對《浪子歷程》的戲劇內容和音樂創作進行詳盡的分析。最後，歸納此歌劇的特色，並對其風格與爭議作一結論。The thesis’ main principal is probing into in-depth of an opera, The Rake’s Progress (1951), composed by a famous composer, Igor Fyodorovich Stravinsky (1882-1971) in the 20th century.The Rake’s Progress is the only masterpiece by Igor Fyodorovich Stravinsky contains with three theatrical performances. The origin of the story began with William Hogarth’s (1697-1764) painting, A Rake’s Progress, and latter revised by famous playerights, Wystan Hugh Auden (1907-1973) and Chester Simon Kallman (1921-1975). The play has had create a substantial debates and discussions since the commence of the performance, where it include a criticisms on the idea of Neo-classicism .Indeed, the ideas and techniques of The Rake’s Progress, is worthwhile for further exploration especially for Igor Fyodorovich Stravinsky, who had never composed such an large-scale opera before creation of The Rake’s Progress.The thesis begins with an elaboration on bio-bibliography of Igor Fyodorovich Stravinsky. The contents also include a comprehensive description on his composing style on all of his composed plays as a basis for in-depth research and study on The Rake’s Progress. Latter part will be the emphasis on explicit analysis on drama contents and musical creation of Rake’s Progress. The thesis will then conclude with description on drama’s unique characteristics and make verdicts on the drama’s style and controversial comments.
