布瑞頓音樂作品裡的東西融合－－東方素材與西方宗教觀點

The Intergration of the East and the West in Britten's Works - Eastern Materials and Western Religious Views

布瑞頓1955年的亞洲巡迴演出，從近東地區、東南亞答里島、香港直到日本，使得作曲家從「認識」的亞洲，經驗到一種超越想像東方的「真實」，充分反映在他往後的歌劇、舞劇甚至聲樂獨唱作品等。本文論述布瑞頓創作作品中的東方音樂素材如何具體而微地應用在西方音樂形式下。再進一步的探討上述的作品內涵，所表現出東方的宗教哲學與西方的神學觀點。例如：新的劇種形式「教會寓言」(Church Parables)作品之一的《鶴河」(Curlew River,1964)，以日本能劇形式融合基督教的精神。布瑞頓表現了英國在現代社會裡，對東方事物浪漫、神秘與異國風格那種憧憬卻又新奇的心態。作品整體脈絡從日本禪宗、猶太神學到基督教神學，反映不同文化間彼此交互影響的過程。

Britten understood the Asia by means of The Asian tour in 1955, from Near East, South East (e.g. Bali), to Far East (e.g. Hong Kong and Japan), among which he had acquaintance with the 'real' Orient beyond his imagination. These experiences reflected his later operas, ballet and vocals to the full. This article tries to expound the eastern materials how they apparently apply in Britten's works to the western form, and further, probe into the context of the works which manifest the religious philosophy in the East and the Theology in the West, e.g. Curlew River (1964), one of the trilogy 'church parables', new Gattung of a kind. This work exhibits the integration the difference between Japanese Noh play and Christian liturgy. Britten expresses a certain mentalities that longs for the romantic exoticism as any of British composer in modern society does. The context of the works from Zen, Judaism to Christian theology provides the detail statement about the course of the reciprocal effect among the dissimilar cultures.