【摘要】：正老舍曾說,"在民間的雜耍里,相聲是最難創(chuàng)作與改編的。"~1在1950年代社會主義改造的歷史語境中,相聲同樣肩負著由"舊"入"新"的職責。"改造"的方式首先是:"替那些老段子恢復了諷刺,同時要把諷刺的對象弄清楚,好教相聲也擔起點宣傳的、教育的責任。"~2然而,難度也是顯見的。譬如說,舊有相聲運用最多的是"矛盾律","這個定律是說著說著正面,冷不防來個反面,非常好笑�？墒沁@就使相聲很難盡由正面宣傳的責任,也就是相聲極難改編的主因。去了哏吧,不成其為相聲;保留著吧,又只是泄氣。"~3如同其他類型的社會主義"喜劇性"
[Abstract]:Zheng Lao She once said, "in the folk vaudeville, crosstalk is the most difficult to create and adapt." in the historical context of socialist transformation in the 1950s, crosstalk also shouldered the responsibility of "old" to "new". The first way to reform is to "restore satire for the old jokes, and at the same time make it clear to the people who are being sarcastic, that the good crosstalk also takes on the responsibility of propaganda and education." however, the difficulty is also obvious. For example, the old crosstalk used the "contradiction law" most, "this law is said to be positive, unexpectedly a reverse, very funny." But this makes crosstalk very difficult by the positive propaganda responsibility, that is crosstalk extremely difficult to adapt the main reason. Straight man, not cross talk; keep it, and only be discouraged. "the" Xi "3 is like other types of socialism" comedy "
【作者單位】： 上海大學文學院;
【分類號】：J826

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