本世纪六十年代中期,在国外兴起了一种接受美学的文艺理论,它着重考察文学艺术被读者和观众接受和产生效果的过程,研究其审美感受。这种思维和研究方法,对文学艺术的理论与实践的发展已产生深远的影响。据此,谈喜剧艺术家的自我创作美感,也就不能不对观众的美感作一番极其简要的比较研究。喜剧艺术家和观众的美感,除编导外,是同步进行的。其他文学艺术家的创作美感,一般地总是先于读者或观众,他们将创作过程中的审美感受凝聚在作品里,然后读者或者观众在阅读、观赏中接受文学艺术家传递的美感。然而喜剧艺术家是在表演 In the mid-1960s, a theory of literature and art that accepted aesthetics emerged in foreign countries. It focused on the process of acceptance and production of literary and artistic works by readers and audiences and the study of aesthetic feelings. This way of thinking and research has had a profound impact on the development of the theory and practice of literature and art. Therefore, the beauty of self-creation by the comedy artists can not but make a very brief comparative study of the audience’s beauty. The beauty of comedy artists and spectators, except for the director, is synchronized. The aesthetics of the creation of other literary artists generally precedes the readers or the audience. They generally condense the aesthetic feelings in the process of creation into works, and then the readers or spectators accept the aesthetic feelings of the literary artists in reading and viewing. However comedy artists are performing