喜剧观的重新确立——“十七”年喜剧建构对喜剧合法性问题的回答

发布时间：2018-01-03 08:02

  本文关键词：喜剧观的重新确立——“十七”年喜剧建构对喜剧合法性问题的回答　出处：《戏剧文学》2016年07期 　论文类型：期刊论文

  更多相关文章： “十七”年 喜剧 合法性 工具化

【摘要】：1949年以后,中国当代喜剧创作从上世纪40年代喜剧创作的高潮瞬间低落,"十七"年间(1949-1966)喜剧创作和批评始终在试探中小心翼翼地进行,这种小心的姿态无疑是因为喜剧的合法性在新时代语境下又成为一个问题困扰着所有的喜剧创作者、批评家和理论家。在对这一问题的回答过程中,"十七"年喜剧逐渐形成了"讽刺和歌颂"的创作模式,也由此将喜剧推入了去喜剧化的困窘境地。从整体上看,这一问题是由于喜剧的工具化定位所导致,然而回到历史语境当中,背后更加复杂的面貌是当代文艺制度的制定、现代喜剧观的历史发展惯性、文以载道的思想传统等各种因素的共同影响。
[Abstract]:After 1949, the Chinese contemporary comedy creation from -60s comedy creation climax moment depressed. "17" (1949-1966) Comedy creation and criticism have always been carefully carried out in temptation. This careful posture is undoubtedly because the legitimacy of comedy in the context of the new era has become a question that puzzles all comedy creators critics and theorists in the process of answering this question. "17" comedy gradually formed the "satire and praise" creative mode, which also pushed the comedy into the plight of comedy. On the whole, this problem is caused by the instrumentalization of comedy. However, in the historical context, the more complicated features are the establishment of contemporary literary and artistic system, the historical development inertia of modern comedy concept, and the common influence of various factors, such as the ideological tradition.
【作者单位】： 北京师范大学文学院;
【分类号】：J805
【正文快照】： 一般地我们把喜剧看作一种艺术形式和审美范畴,是和悲剧相区别的一种审美范畴。喜剧和悲剧的区别不在于表现对象和表现内容的不同,而仅仅在于表现方式的差异。同样故 事可以用笑的方式讲述和表演,也可以用悲翼戏剧传统里,喜剧的主要表现形态是富于伤的方式呈现。中国喜剧的传，

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