18세기 전반기 프랑스 오페라의 변모에 관한 고찰 - 대본작가 라 모트와 볼테르의 역할에 대하여
The Metamorphosis of the French Opera in the First Half of the Eighteenth Century -The Contribution of La Motte and Voltaire, Two Opera Librettists
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French opera was transformed much in the first half of the eighteenth century. Generally, since the creation of opera-ballet in 1697, the place accorded to the elements of entertainment (dances, tunes and choruses) increased to the detriment of that given to the recitative. The interest of the spectators turned away little by little this one to move towards the music and the dance. This change of balance within the works engendered a great transformation of the relationship between poetry and music on the one hand and in the relationship between librettists and musicians on the other hand. La Motte and Voltaire, two opera librettists, contributed to the metamorphosis of opera in France. La Motte, creator of opera-ballet, supported for the new genre a dramaturgy drawn from the criticism of the traditional theory of the three units. Voltaire, inspired by the ‘all new taste’ of the music of Hippolyte and Aricie of Rameau, tried to make a reform of the French opera since Boileau had always been criticized as being effeminate. La Motte strongly encourages us to occupy the mind and move the heart from the beginning of a play. For, the heart being once moved, the mind is no longer master of examining. The poem will succeed in guiding the absorbed spectators to the end of the play. Here we can perceive the lines of a new dramaturgy for opera-ballet. In Rameau's <Hippolyte et Aricie>, there is the air style with da capo, the accompanying recitative, the frequent use of dance tunes, choruses and symphonies to represent the marvelous. Predominant music and dance, a great place for the air, excessive amenities, a lack of machinery, this is a real picture of French opera in the middle of the 18 th century.
Abstract
French opera was transformed much in the first half of the eighteenth century. Generally, since the creation of opera-ballet in 1697, the place accorded to the elements of entertainment (dances, tunes and choruses) increased to the detriment of that given to the recitative. The interest of the spectators turned away little by little this one to move towards the music and the dance. This change of balance within the works engendered a great transformation of the relationship between poetry and music on the one hand and in the relationship between librettists and musicians on the other hand. La Motte and Voltaire, two opera librettists, contributed to the metamorphosis of opera in France. La Motte, creator of opera-ballet, supported for the new genre a dramaturgy drawn from the criticism of the traditional theory of the three units. Voltaire, inspired by the ‘all new taste’ of the music of Hippolyte and Aricie of Rameau, tried to make a reform of the French opera since Boileau had always been criticized as being effeminate. La Motte strongly encourages us to occupy the mind and move the heart from the beginning of a play. For, the heart being once moved, the mind is no longer master of examining. The poem will succeed in guiding the absorbed spectators to the end of the play. Here we can perceive the lines of a new dramaturgy for opera-ballet. In Rameau's <Hippolyte et Aricie>, there is the air style with da capo, the accompanying recitative, the frequent use of dance tunes, choruses and symphonies to represent the marvelous. Predominant music and dance, a great place for the air, excessive amenities, a lack of machinery, this is a real picture of French opera in the middle of the 18 th century.
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