摘要
自2017年《脱口秀大会》开播以来,脱胎于英语单口喜剧(Stand-up Comedy)的单口脱口秀作为一种新喜剧形式,迅速在大众之间普及。目前,我们对于它的研究多集中在内容层面,但针对其基本范式的探讨却尚属空白。通过梳理单口喜剧形成的历史可以看到,与传统桥段演绎类的表演不同,单口喜剧是一种主体“自我”讲述与“世界”关系的反思性、广场性幽默。这种先在且潜在的范式规定了单口脱口秀的创作框架与逻辑,并重新塑造着我们对喜剧的内在理解。另外也由于这种范式,使得单口脱口秀在“开玩笑”的同时,具有较强的社会意见性。要把握其意见性,绝不能以字面解读孤立的段落,而是要在整体语境中观察它在公共话语场域中的脉络与位置。
Born out of the influence of English Stand-up Comedy,Chinese Tuo-kou Show has been gaining popularity among massive viewers since the show "Rock & Roast" was on air in 2017.Researchers mainly focus on its performing materials and style,yet nobody studies this new form of comedy in terms of basic paradigm.By looking into the history of modern Stand-up Comedy,the paper demonstrates that,stipulated by English Stand-up Comedy,Tuo-kou Show is a form of comedy where the performers as the subjective-self talk about their relationship with the world within certain societies in an ironic and reflective manner.This pre-existing and potential paradigm stipulates the creative framework and logic of Tuo-kou Show,and reshapes our internal understanding of comedy.In addition,because of this paradigm,Tuo-kou Show tends to propose strong "social opinions" while "joking".To grasp its opinion tendency,one should not interpret isolated jokes literally,but to observe and position them in the field of public discourse in the overall context.
出处
《上海文化》
CSSCI
2021年第12期71-79,共9页
Shanghai Culture
