中国相声的包袱艺术新论  

A New Discussion on the Art of Jokes in Chinese Cross Talks

作　　者：陈建华[1] 

机构地区：[1]泰山学院文学与传媒学院,山东泰安271021

出　　处：《海南师范大学学报（社会科学版）》2013年第3期89-94,共6页Journal of Hainan Normal University(Social Sciences)

基　　金：2010年度教育部人文社会科学研究一般项目"相声艺术研究"(10YJC760004);2008年山东省社会科学规划项目"传统戏曲与中国相声"(08JDD010);2012年山东省高等学校人文社会科学研究项目"相声艺术史论"(J12WK69);2012年山东省艺术科学重点项目"山东民间说唱艺术研究"(2012222)

摘　　要：相声是中国喜剧的典型代表,至今是广大群众喜闻乐见的主流喜剧形式,具有重要的研究价值。相声是包袱的艺术,包袱是相声艺术的宗旨和核心。包袱不仅仅源于滑稽幽默的语言,其核心本质是:现挂,即现场抓包袱,话题指向观众和现实,形成包袱的关键;叙事荒诞、错位以求出奇制胜,形成包袱的主干;人物滑稽和矛盾的性格形成包袱的核心。As a typical representative of Chinese comedy,the cross talk has so far remained the mainstay comic form popular with the masses and has been of significant research value.The cross talk is an art of jokes which are its tenet and core.Apart from the use of funny and humorous language,jokes have their crux in the application of laughing stocks on the scene,that is,the on-the-spot use of laughing stocks related to the audience and social reality can be the key of jokes;while the ridiculous narrative and the malposition as a surprise act can be the trunk of jokes,and comical figures and their characters form the core of jokes.

关 键 词：中国相声 包袱 现挂 叙述 角色 

分 类 号：I239.7[文学—中国文学]