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在相当长的一个时期中,滑稽戏的结构形态,多为独脚戏段子的组合,若干噱头组成若干场面,演员们自为中心,各竞其技,把舞台画面剖成若干碎片。于是,结构之变,便成为滑稽戏确立戏剧本性和审美品格的重要课题。《多情的“小和尚”》等佳品在结构上新的变化,很值得研究。这种结构上的新变,实乃滑稽戏确立戏剧本性、趋向成熟的重要标志。《多》剧在结构上的一个显著特点,是驱动事件、情节的时间进程与承载噱头、笑料的空间场面所实施的最佳组合,使横面的无序性与纵面的有序性始终处于相对协调的情势之中。两户曾有宿怨的个体户,不
For quite a long period of time, the structure of the comic plays mostly consisted of a combination of single-legged play pieces. Several gimmicks made up a number of scenes. The performers acted as their own centers, each performing his own skill and cutting the stage picture into pieces. Thus, the change of structure has become an important issue for the comic to establish the nature of drama and the aesthetic character. “Passionate” young monk “” and other comrades in the structural changes, it is worth studying. This new structural change is actually an important symbol of the establishment of the nature of drama and its maturation. A distinctive feature of the “multi” drama in structure is the optimal combination of the time course of the driving event, the plot, the space scene carrying the gimmick and the jokes, so that the disorder of the horizontal plane and the orderliness of the vertical plane always In a relatively coordinated situation. Two households have complained of self-employed, no