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自台湾舞台剧导演赖声川《那一夜,我们说相声》以来,相声剧逐渐发展成为一种独立的艺术形式,在华语话剧市场上占据了重要的地位。“表演工作坊”及其后继者“相声瓦舍”的相声剧创作,一方面保留了传统相声的基本体裁,一方面则在西方现代戏剧美学的导引下产生了强烈的形式自觉,开发出一种多元时空的艺术。多元时空使得相声剧突破了传统相声的单向度叙事模式,在时空形式的多维对比中表达出深广的历史文化内涵。可以说,正是这种时空艺术的成功运用,使得相声剧得以超越传统相声,成为一种文人化的高级艺术形态。
Since the Taiwanese drama director Lai Sheng-chuan, “That night, we have talked about each other,” the comic drama has gradually developed into an independent art form, occupying an important position in the Chinese drama market. On the one hand, it retains the basic genres of traditional comic dialogue and on the other hand, it produces a strong form under the guidance of western modern drama aesthetics. On the one hand, Consciously, developed a multi-dimensional art of time and space. Pluralistic space-time makes the comic dialogue break through the unidirectional narrative pattern of traditional comic dialogues, and expresses the profound historical and cultural connotations in the multi-dimensional contrast of space-time forms. It can be said that it is this successful application of space-time art that makes it possible for the comic opera to surpass traditional comic dialogue and become a kind of high art form of literati.