末技与大道——谈先秦两汉俳优表演中的滑稽  

Small Skills and Perfect Techniques in Performing Farces——The Performing Skills in Farces in Pre-Qin and East & West Han Dynasties

作　　者：刘小祺[1] 谢芳[1] 

机构地区：[1]广西民族大学文学院,广西南宁530006

出　　处：《湖州师范学院学报》2011年第6期23-27,共5页Journal of Huzhou University

基　　金：2011年广西壮族自治区研究生科研创新项目(2011106080501M388)研究成果

摘　　要：滑稽作为一种艺术要素自古存在,在历史上它虽以不同的载体出现,但由于其自身属性和中国传统文化的天然矛盾,滑稽艺术注定在末技与大道的夹缝中艰难生存。先秦两汉时期的俳优表演就就是被视为小道、末技的典型滑稽艺术,它依靠解纷解忧的悦笑功能和怨刺劝惩的讽谏功能,向主流靠拢,努力做到合于大道。Farce as an element of art has always existed since ancient time. In history, although it appeared in different styles, farce was destined to survive in a difficult way between small skills and perfect techniques because of the contradictions between its own nature and the traditional Chinese culture. The performing skills in farces in Pre - Qin and East and West Han Dynasties were regarded as small skills, a typical unimportant farce art, whose functions relied on making funs by relieving people＇s anxi eties, punishing the evil and teasing the unfair, which tried to go close to the main stream so as to perfect the performance.

关 键 词：滑稽 末技 大道 

分 类 号：I206.23[文学—中国文学]