赖声川的即兴创作,并非一般意义上的即兴表演或者传统观念里的即兴创作。有关即兴创作,最早的记录是关于17世纪意大利即兴喜剧的记载。意大利即兴喜剧的特征是“幕表”与“即兴表演”相结合,并且所有的演员都是戴着面具进行表演,因此又称为“假面”喜剧。每一场即兴表演演出,都是根据事先制定好的“幕表”来完成的。意大利即兴喜剧的形态存在了二百多年,之后由于其本身的粗糙性和缺乏剧本的记录而销声匿迹。直到20世纪初,在西方现代戏剧流派的创作中,开始运用即兴创作。但是,此时的即兴创作与意大利即兴喜剧时期的即兴创作已经有很大的不同,不但取消了“假面”喜剧中,“假面”表演的方式,而且取消了即兴喜剧中的喜剧成分和幕表制,更多的是代之以形体动作和即兴互动。如格 Lai’s improvisation is not an improvisation in a general sense or an improvisation in a traditional conception. The earliest record of improvisation was about the 17th century Italian improvisational comedy. Italian impromptu comedy is characterized by a combination of “curtains” and “improvisation”, and all the actors perform in masks, hence the name “masquerade”. Each improvisation performance is based on a well-established “curtain table”. The Italian improvisational comedy has existed for more than two hundred years before disappearing due to its own roughness and lack of scripts. It was not until the early 20th century that improvisation was started in the creation of modern Western theater genres. However, improvisation at this time has been very different from improvisation in the Italian improvisational comedy era, in that not only the cancellation of “masquerade” and “masquerade” in " Comedy composition and curtain table system, more is replaced by the physical action and improvisation interaction. Ruge