泛喜剧时代下的艺术精神——以开心麻花系列剧为例  

Artistic Spirit in the Era of Pan Comedy——Taking Happy Twist Series as an Example

作　　者：黄也平[1] 葛姗姗 HUANG Ye-ping;GE Shan-shan(College of Literature,Jilin University,Changehun 130012,China)

机构地区：[1]吉林大学文学院,吉林长春130012

出　　处：《东北师大学报（哲学社会科学版）》2019年第1期162-168,共7页Journal of Northeast Normal University(Philosophy and Social Science Edition)

基　　金：国家社会科学基金一般项目(15BXW087)

摘　　要：当代喜剧类型电影逐渐受到资本和市场的青睐,以"开心麻花"系列剧为代表的当代喜剧已然与中国传统喜剧有所不同,根本原因在于更符合现代观众的需求。喜剧的本质是精神上的自由,康德揭露了喜剧与自由的关系,并且阐释了在形式主义的外表之下才会产生带有自由属性——"笑"的情绪反应。"开心麻花"三部剧深刻反映了巴赫金"狂欢化"理论——喜剧的精神内核即自由。Contemporary comedy movies are gradually favored by the capital and the market.The contemporary comedy represented by the"happy twist"series is different from the traditional Chinese comedy.The fundamental reason is that it is more in line with the needs of modern audiences.The essence of comedy is spiritual freedom.Kant exposed the relationship between comedy and freedom,and explained that only under the appearance of formalism can the emotional response with the attribute of freedom-"laughter".Bakhtin’s theory of carnivalization is deeply reflected in the three"happy twist"plays.The spiritual core of comedy is freedom.

关 键 词：泛喜剧 自由 狂欢化 

分 类 号：J905[艺术—电影电视艺术]