论郭德纲相声的后现代主义特征  

On the Postmodern Characteristics of Guo Degang's Comic Dialogue

作　　者：伍方斐[1] 赖锐[1] 

机构地区：[1]广东外语外贸大学,广州510420

出　　处：《广东外语外贸大学学报》2013年第5期74-78,共5页Journal of Guangdong University of Foreign Studies

摘　　要：从语言、人物、结构、文化内涵等方面观照郭德纲的相声文本,可以感受到其中突出的后现代主义特征。他的相声可以说是一场狂欢化的语言游戏;人物塑造戏拟神圣、精英、偶像,彰显世俗、卑琐、草根的底层人物和民间百态;技术上突破"三番四抖"的经典结构,使相声的整体框架和节奏变得急促、零散、多元混杂;文化内涵上,他的作品既有针对主流文化的"解构"锋芒,又在"建构"和重组民间、传统、民族等元素方面,表现出后现代主义本土化的建设性取向。If we take Guo＇ s comic dialogue as a text, we can feel its postmodern characteristics. This is mainly mani- fested in four aspects： language, characters, structure, cultural characteristics. The language of his comedies is very mundane, making the comic dialogue just like a game. The characters in his comedies have nothing to do with elites and idols, but have to do with humble persons. What is more, Guo breaks the old structure of comic dialogue. As for the cultural characteristics, not only does Guo fight against the mainstream culture, but also he stresses the construction of the traditional comic culture.

关 键 词：郭德纲 相声 后现代主义 

分 类 号：I239.7[文学—中国文学]