本文選題：業(yè)界權(quán)威　切入點(diǎn)：演出形式　出處：《戲劇文學(xué)》2014年11期

【摘要】：正近年媒體圍繞二人轉(zhuǎn)的很多論爭(zhēng),其分歧焦點(diǎn)集中在人們對(duì)二人轉(zhuǎn)形式的理解上。人們通常把二人轉(zhuǎn)理解為一種固定的演出形式(即傳統(tǒng)的"雙玩意"。因此肖鷹等人認(rèn)為今天舞臺(tái)演出的不是二人轉(zhuǎn),而是"二人秀",獲很多業(yè)界權(quán)威人士的支持)。這是一個(gè)重大的誤區(qū)。自古二人轉(zhuǎn)就是"一樹(shù)多枝",并且在新的歷史條件下不斷發(fā)出新枝。把二人轉(zhuǎn)固定為一種樣式,而排斥其他子集樣式,是對(duì)二人轉(zhuǎn)文化的曲解。鑒于此問(wèn)題已關(guān)系二人轉(zhuǎn)何去何從,本文對(duì)此問(wèn)題作一番
[Abstract]:In recent years, there has been a lot of controversy in the media around the two-man revolution. The focus of their differences is on people's understanding of the form of the two-person rotation, which is usually understood as a fixed form of performance (that is, the traditional "double play". Therefore, Xiao Ying and others believe that today's stage performance is not a two-person rotation. But the "two-person show", which has the support of many authoritative figures in the industry. This is a major mistake. Since ancient times, Errenzhuan has been "one tree with many branches," and has been issuing new branches under the new historical conditions. The rejection of other subsets is a misinterpretation of the culture of Errenzhuan. In view of the fact that this problem has been related to the future of Errenzhuan, this paper makes some comments on this issue.
【作者單位】： 吉林省藝術(shù)研究院;
【分類(lèi)號(hào)】：J825

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