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“革命”与“分心”——以1950-60年代新相声为例

发布时间:2018-09-04 19:28
【摘要】:正老舍曾说,"在民间的杂耍里,相声是最难创作与改编的。"~1在1950年代社会主义改造的历史语境中,相声同样肩负着由"旧"入"新"的职责。"改造"的方式首先是:"替那些老段子恢复了讽刺,同时要把讽刺的对象弄清楚,好教相声也担起点宣传的、教育的责任。"~2然而,难度也是显见的。譬如说,旧有相声运用最多的是"矛盾律","这个定律是说着说着正面,冷不防来个反面,非常好笑。可是这就使相声很难尽由正面宣传的责任,也就是相声极难改编的主因。去了哏吧,不成其为相声;保留着吧,又只是泄气。"~3如同其他类型的社会主义"喜剧性"
[Abstract]:Zheng Lao She once said, "in the folk vaudeville, crosstalk is the most difficult to create and adapt." in the historical context of socialist transformation in the 1950s, crosstalk also shouldered the responsibility of "old" to "new". The first way to reform is to "restore satire for the old jokes, and at the same time make it clear to the people who are being sarcastic, that the good crosstalk also takes on the responsibility of propaganda and education." however, the difficulty is also obvious. For example, the old crosstalk used the "contradiction law" most, "this law is said to be positive, unexpectedly a reverse, very funny." But this makes crosstalk very difficult by the positive propaganda responsibility, that is crosstalk extremely difficult to adapt the main reason. Straight man, not cross talk; keep it, and only be discouraged. "the" Xi "3 is like other types of socialism" comedy "
【作者单位】: 上海大学文学院;
【分类号】:J826

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