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众所周知,作为戏剧形态的滑稽戏,与作为曲艺形态的独脚戏(有人称之为“南方相声”)有着直接的亲缘关系。奇特的是,二者同步发展,在机构体制上二为一体,一直没有分道扬镳,各立门户。这种历史状况,使滑稽戏在相当长的时期中不仅留存独脚戏的胎记,而且还呈示出独脚戏的风貌。滑稽戏早期(四十年代)许多剧目的主要结构方法,明显地表现出由若干噱头和段子进行组合的特点,一个噱头(或一个段子)一个中心,一个场面一个中心。如果在若干中心之间协调得比较好,也可以造成气脉贯通的戏剧情势。但是,这种结构形态,往往有一种排斥合理布局的抗性,整体性意识和功能发挥较差,演员凭自己的
It is well-known that the drama as a drama has a direct relationship with the one-man show (some call it “The Southern Dialogue”) as a folklore. Curiously, the simultaneous development of the two, in the institutional system as one, has not parted, all establish a portal. This historical situation, so funny drama for a long period not only retained the birthmark of one-man show, but also shows the style of one-man show. The main structural methods of many plays in the early (1940’s) comedy show clearly the combination of several gimmicks and dummies, a gimmick (or a segment) of a center, a scene of a center. Coordination between several centers is good, but it can also create a dramatic situation that runs smoothly. However, this kind of structural form often has a kind of resistance that repels the rational layout, and the overall consciousness and function play poorly. The actor uses his own