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当相声不再讽刺的时候,人们便开始讽刺相声。幽默的精髓在讽刺,一个丢掉了讽刺的相声,也就丢掉了幽默。丢掉讽刺的相声,正如今天所谓的主流相声所呈现的,变成了丝毫不能令人回味的贫嘴、滑稽、插科打诨,不伦不类的歌功颂德,相声本来可以成为中国最幽默的脱口秀形式,而今天,却越来越丧失掉听众。正如有论者所说,相声的领域曾经可以是如此的自由和宽泛。观众可以长期观看到这类相声。关键就在于,早期的相声,和其他任何土生土长的民间艺术形式,都能够用丰富和真实的手法来反映老百姓的日常生活。演员可以随意自由的探寻中国人民身上的优点和缺点,中国文化的光辉和黑暗的一面,表演日常生活中令人厌烦的荒谬,无论是官场上的还是市井中的,给观众带来欢乐。总之,相声曾经能够讽刺中国的方方面面,包括黑暗的一面。但上世纪中叶的某个节点上,情况发生了变化。讽刺,是如何从相声中缴械的?
When comic dialogue is no longer ironic, people start satirizing cross talk. The essence of humor is ironic, one lost satirical comic, it lost the humor. Lost the irony of cross talk, as today’s so-called mainstream crosstalk has emerged, has become the slightest unpleasant poop, funny, gag, neither fish nor fowl praise, crosstalk could have become China’s most humorous talk show, but today, but Lost audiences more and more. As anyone has said, the realms of crosstalk used to be so free and broad. The audience can watch this kind of comic dialogue for a long time. The point is that early crosstalk, as well as any other native folk art forms, are capable of reflecting the ordinary life of ordinary people with richness and truthfulness. Performers are free to explore the merits and demerits of the Chinese people, the glorious and dark side of Chinese culture, the perplexing absurdities of everyday life, whether in official or marketplace, to bring joy to the audience. In short, crosstalk once satirized all aspects of China, including the dark side. But at some node in the middle of the last century things changed. Ironically, how to disarm from crosstalk?