从《欢乐喜剧人》看开心麻花的小品创新  

On the Innovation of Mahua FunAge's Short Sketches in Happy Comedian

作　　者：谢旭慧[1] 王珏[1] 杨继林[1] 

机构地区：[1]上饶师范学院文学与新闻传播学院,江西上饶334001

出　　处：《上饶师范学院学报》2017年第2期56-60,共5页Journal of Shangrao Normal University

基　　金：国家社科基金艺术学项目(16BB027);江西省社会科学重点项目(16WX01)

摘　　要：在《欢乐喜剧人》的舞台上,开心麻花为我们呈现了有别于传统意义上的喜剧小品的新样式。他们的小品既有鲜明的艺术至上的理想,又体现了强烈的时代精神和社会使命。题材选择更为广泛,更加大胆,有的作品甚至突破了喜剧创作的禁区;表现手段花样翻新,审美形式更加多元;舞美技术更为先进,呈现出舞台剧甚至影视剧的视听效果。他们以观众为中心,以生活为源泉,以经典为龙头,以多样化的表现形态和独特的美学风致,努力为喜剧小品注入生机与活力,为喜剧小品这一中国原创喜剧艺术在新时代的创新发展做出了重要贡献。On the stage of Happy Comedian, Mahua FunAge presents before the audience a new form of short sketch different from that of traditional short sketch. Mahua＇s short sketches are not only characterized by the distinct ideal of ＂art for artTs sake＂, but also reflect the strong spirit of the times and the social mission. The selection of subject mat-ter is more extensive and bold, and the works even break through the forbidden zone of comedy creation; the tech-niques of expression are novel and various, and aesthetic forms are more of multiplicity ; the stage design is more ad-vanced ,with an audio-visual effect of stage play and even of movie and television play. Mahua＇s sketches, with audi-ence as the focus, with life as the source, with classics as the leading part, with various expression forms and unique aesthetic charm, try to bring vigor and vitality to comic sketches, greatly contributing to the innovative development of short sketch, an original comic art in China in the new era.

关 键 词：开心麻花 喜剧小品 创新 

分 类 号：J827[艺术—戏剧戏曲]