我常常想,戏剧小品要求在极为简短的篇幅里写出精彩来,写法上非得别开蹊径才能奏效。譬如那些脍炙人口的小品佳作,比起传统写戏手法便多出格之处:往往不写冲突,只写状态;而且不是本色写,只是夸张写,通过对一种状态极尽夸张、变形之能事,获得出人意料的效果。《超生游击队》是对超生状态的夸张和变形,《打扑克》是对名片状态的夸张和变形,均可视作典范。 那么问题来了,传统写戏手法与小品写法是否截然对立而毫无沟通余地呢?特别是在如今,戏剧小品红火起来,占据了舞台的主角,许多作者都是尚未脱离大戏或小戏的创作惯性,匆匆转写小品。他们习惯于写冲突,不习惯于写状态;习惯于本色写,不习惯于夸张写,究竟能否写好小品呢?应当承认,照搬传统写戏手法来写小品,总是难脱小戏窠臼,总是难以达到小品的那份精致和精彩。但话又说回来,从“文无定法”的千古准则说,小品写法毕竟不能固定成一个模式;而从小品到底还是戏剧样式的一种类型来说,小品写法与传统写戏手法又不会全无联系。因此,有些有过写戏经历的作者,他们基本遵循传统写戏原则来写小品,既不避冲突,又不重夸张,却能在许多细部艺术处理上摆出灵活姿态,写来固然不大讨巧,却也像那么回事,也能算得小品的一路。例如胡永杰的小品,就属于这种情形,而且是写得 I often think that drama sketch requires writing in a very short space wonderful, wording do not have to open the door to be effective. For example, those popular works of goodies, compared to the traditional style of writing will be more features: often do not write conflict, write-only state; and not the color to write, but exaggerated to write, by a state of exaggeration, , Get unexpected results. “Super-life guerrillas” is an exaggeration and distortion of the state of hyper-life. “Playing poker” is an exaggeration and distortion of the state of business cards, and can be regarded as a model. So the question has come. Is there any room for communication between the traditional writing techniques and the essay writing style? Especially nowadays, the playpins fire up and occupy the main stage of the stage. Many authors are creative inertia , Hurried to write skit. They are accustomed to write conflicts, are not used to writing state; accustomed to the original color, not accustomed to exaggerated to write, whether it can write a sketch? It should be admitted that copying the traditional writing techniques to write sketches, It is always difficult to achieve the piece of exquisite and wonderful. But then again, from the eternal norms of the “text amorphous method” that the essay can not be fixed as a model, after all; and from the essay in the end is still a type of drama style, essay writing and traditional writing techniques will not No connection. Therefore, some writers who have experienced writing experience basically follow the traditional principles of writing to write sketches. They can neither avoid conflicts nor emphasize exaggeration, but they can flexibly act on many details of arts. Carefree, but also like that, but also be able to count the skit all the way. For example, Hu Yongjie’s sketch, belongs to this situation, and is written