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小品与方言似乎结下了不解之缘。中央电视台第二届全国戏剧小品电视比赛,8个作品获一二三等奖。这几个小品我都看了,发现一个似寻常又奇怪的现象:除一两个小品的演出全用普通话外,其他小品中总有一位主角或多个角色操方言。《一个儿子三个爹》和《悲喜交加》是河南话,《连队轶事》拖着浓浓的广东腔,《纠察》是山东话,《杠子、老虎、鸡》是天津话,《阿米尔的歌》是新疆味。如果说《阿米尔的歌》里那位维族战士说着新疆味十足的普通话不但情有可原,且增加了戏剧真实性的话,别的小品硬要用地方话,就没有什么道理了。尤其是《杠子、老虎、鸡》,好像是武汉的什么单位演
Pieces and dialects seem to be brought to a conclusion. CCTV second national drama skit TV contest, 8 works won the second and third prizes. I have seen these pieces, and found an unusual and weird phenomenon: In addition to one or two pieces of the show full use of Putonghua, the other pieces there is always a protagonist or roles in more than words. “One son and three daddy” and “compassion and joy” are in Henan dialect, “company anecdote” drags thick Guangdong chamber, “picket” is Shandong dialect, “stick, tiger, chicken” is Tianjin dialect, “A Mill’s song ”is Xinjiang flavor. If the Uyghur soldier who spoke in Xinjiang’s Ameer’s Song said that Xinjiang’s full-fledged Putonghua is not only extenuating, but also increases the authenticity of the drama, there is no reason why other sketches must be inscribed on the ground. In particular, “sticks, tigers, chickens”, it seems that what unit Wuhan play