戏剧小品,作为一种独立的艺术样式崛起,以其短小精悍、贴近生活和观赏性强等特点,受到广大观众的青睐,在戏剧普遍不景气的情势下独领风骚。相比之下,理论界对于戏剧小品的研究,显然远远落后于戏剧小品创作的艺术实践,即或如“何谓戏剧小品”这样一个起码应该回答的问题,至今仍找不到—种简明准确的答案。有人强调戏剧小品的片段性,当然是很有道理的。强化戏剧小品作者的片段意识,无疑是有益于戏剧小品的创作的,但是,在具体操作中,仅以“片段性”作为对戏剧小品的界定,又有一定的难度。所谓“片段性”,是相对于过程的全部而言的。片段,即非过程的全部,或有头无尾,或无头有尾,或无头无尾。这种截取全部过程的某一片段的戏剧小 Drama piece, rising as an independent artistic style, is favored by the majority of audiences due to its shortness and dignity, life-style and ornamental character, and plays a dominant role in the situation of drama generally downturn. In contrast, the study of the theatrical essays by the theorists lags far behind the artistic practice of drama essays, that is, at least the one that should be answered, such as “what is drama,” still can not find a concise and accurate s answer. It is certainly justified to emphasize the fragmentary nature of dramatic sketches. It is undoubtedly of great benefit to enhance the fragment awareness of the dramatist. However, in the specific operation, it is difficult to define “fragment” only as the definition of drama sketch. The so-called “fragmentary” is relative to the whole process. Fragments, that is, non-process all, or have no tail, or head and tail, or head and tail. A certain fragment of this interception of the whole process is small