秦汉俳优戏与传统相声艺术萌芽  

Comedian Opera of the Qin and Han Dynasties and the Germ of Chinese Cross Talk

作　　者：陈建华[1] 

机构地区：[1]泰山学院文学与传媒学院

出　　处：《浙江艺术职业学院学报》2014年第2期24-28,139,共6页Journal of Zhejiang Vocational Academy of Art

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>(项目编号:10YJC760004);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>(项目编号:J12WK69);2012年山东省艺术科学重点项目<山东民间说唱艺术研究>(项目编号:2012222)

摘　　要：中国民间说唱艺术孕育了诗歌、小说和戏曲等诸种艺术,其中尤以相声影响重大,具备相当的学术价值。一般认为,相声源于清末,但其萌芽早在秦汉俳优戏中就已产生:俳优戏催生了"说、学、逗、演"四门相声基本技法,以逗笑为宗旨,善使包袱手法,确立了双人相互攻讦耍笑的结构;其语言滑稽,机智敏捷,锋芒锐利;它长于模拟人物言行、塑造滑稽角色。俳优戏以现挂为艺术核心,以讽刺为根本精神,孕育了相声艺术之精髓。但秦汉俳优戏缺少专业的演出场所、艺术内涵不清、缺少成熟的作品、表演缺少稳定性,也缺少完整而职业化的体系,距离真正成熟的相声尚远而只能算作萌芽。Chinese folk speaking and singing art breeds poem, novel, opera, etc.. Chinese cross talk is the most influential with significant academic value. It originated from the comedian opera of the Qin and Han dynasties, which promotes the development of the four fundamental skills of Chinese cross talk, namely speaking, imitating, teasing and performing. The comedian opera of the Qin and Han dynasties takes xiangua as the core and satire as the spirit, both of which become the essence of Chinese cross talk. However, it is far from mature due to the lack of professional theatre, clear art connotation, mature works, stability of performance and a professional system.

关 键 词：秦汉俳优戏 相声 萌芽 

分 类 号：J826[艺术—戏剧戏曲]