谈小品中的东北方言艺术情趣由刀豆文库小编整理，希望给你工作、学习、生活带来方便，猜你可能喜欢“东北话小品”。
谈小品中的东北方言艺术情趣
教案:
拥有东北方言艺术情趣的小品，自从上世纪80年代中后期迅猛发展并且异军突起之后，就一直独领风骚，热度不减，这种类似节目的收看率和收视率始终独占鳌头，成为广大人民群众的一道必不可缺的 “美味佳肴”。之所以东北的话剧小品会如此受到广大人民群众的青睐，我想原因是多方面的。除了表演、创作以及东北民间艺术特色之外，我觉的之中有一个无法被人忽略的关键因素就是它的方言艺术情趣。应该说，如果没有东北地区独特的方言，也就不会有东北小品这么大的吸引力和艺术魅力。
People from Northeast China have been the main force behind Chinese comedy for decades.From hit comedy talent shows and TV series to the China Central Television(CCTV)Spring Festival Gala, their influence is everywhere.Nicknamed “Northeast Tigers” after Northeast China's protected tiger Panthera Tigris Altaica, their rise truly began with the Spring Festival Gala, or chunwan, events that have been broadcast since the 1990s.小品是一种视听艺术，尤其是话剧，在其中起着非常关键的作用的是语言。从它的起源来看，中国话剧是从国外引进的舶来品，自它引入到中国后，无论是文学剧本或者是舞台表演都用的是普通话，即北方话或称之为官话。但从其发展上来看，随着话剧的地域化、民族化，全国各地的话剧开始自觉或不自觉地与当地的方言联系得越加紧密起来。特别是话剧小品的出现，它与乡音特色和方言艺术差不多是与时俱来、形影相随的。
When chunwan first started in 1983, comedy programs including short plays and crotalk performances all followed the styles found in Beijing and Tianjin.Not surprising considering crotalk originated from Tianjin and most chunwan performers were from these two cities.However, this pattern gradually changed when a “northeastern uncle” in an old Chinese tunic suit and hat walked on the chunwan stage in 1990.Comedian Zhao Benshan is now considered the grand master of comedy in China.Zhao is not the only one to have had an impact.Fan Wei, Pan Changjiang and
many other veteran comedian stars from Northeast China have been taking the lead in comedy for years.Although they have started to pa the baton to the next generation, these newcomers, such as Shen Chunyang, Ma Li and Shen Teng, are also from Northeast China.从社会文化学角度分析，东北喜剧小品多年来的一路走红，既得益于人们的喜好，也得益于社会的包容，同时，反证出人们对喜剧文化需求的饥渴，折射出高雅文化与其它品类文化、包括喜剧文化的缺失与颓势。毋庸讳言，随着泛俗文化的电视化、网络化以及实体化、团队化的发展，也出现了良莠不齐、泥沙俱下，甚至低俗化、恶俗化的倾向。在城市乡镇的舞台上，以及网络或有线电视上，一些带有盈利性质和垄断性质的团体和媒体对专门以俗为乐的节目大开绿灯，而观众对某些以自虐、自嘲为噱头的明显带有恶搞与低俗倾向的泛俗文化报以掌声，或者故意起哄。这其实在表明观众在寻找不到健康的精神消遣时，面对其错位替代物的无奈妥协或认可。联想起某些以电视为首的传媒对泛俗文化的过度宠爱与放纵，也折射出某些掌握媒体权力的决策者和知识精英，在面对票房价值和收视、点击率的诱惑时所表现出的集体媚俗与道义操守的沉沦。
“娱乐至上”的艺术主张无疑彻底颠覆了“文以载道”的传统文化理念，虽是对过去“高大全”、“假大空”、“主题先行”的摒弃，但有必要抛给社会、大众和艺术家们一个严正的命题：究竟是“大众娱乐”，还是“娱乐大众”甚至“愚乐大众”？
孰不知，过度强调娱乐性的直接后果是摒弃和混淆文化的道德内涵与审美价值的判断！喜剧的话一旦被纳入游戏的轨道并任其发展，就会导致投其所好、恶搞成风，甚至“娱乐至死”。它的副作用是嘲解崇高情结、消解英雄主义、瓦解集体主义、倡导取悦媚俗的市侩哲学，造成只有娱乐、放纵恶搞，如果没有文化、如果没有格调的“无土栽培”、“文化空壳”、“文化沙漠”现象与低俗文化泛滥的“跑偏”格局。
Expanding out
Due to huge cultural and dialectical differences, comedies from one place usually face overwhelming challenges when performing outside their native region.Geographically speaking, the biggest difference probably exists between northern and southern China, which is one of the main reasons northeastern comedy used to have such a difficult time making southern audiences crack a smile.However, this situation has been changing.Shen Teng, a popular comedian who has appeared on chunwan for the past three consecutive years, shared his experience with the Global Times.“We usually don't have communication problems when we perform our stage plays in other cities.Audiences still understand what we say and laugh out loud.Of course, we avoid using local slang,” he said.An article by the Chinese Busine Morning News analyzed the reasons behind northeastern comedians' succe stating that since northeastern dialects are the closest to Putonghua, the official language of China, almost no barriers to understanding exist around the nation.Migrant workers from the Northeast also have fewer problems communicating in other places, compared to migrant workers from other areas.This helps short plays, crotalk, and storytelling be understood and have an impact on the nation as a whole.Television has played a major role as well, as state television broadcast stations such as CCTV will no doubt choose programming that can be understood by a majority of people in China.Concerns
Of course not everything works.After Zhao Benshan wasn't seen on the chunwan stage after 2012, some worried that northeastern comedy had hit a bottle neck.According to Liaoning Daily, the succe of many previous works were because writers were inspired by their life experiences.However, a lot of what is being created now is sometimes divorced from real life, and instead of being creative comedy has now become a matter of finding jokes and just putting them randomly in a sketch.With this in mind it comes as no surprise that northeastern comedy has suffered and comedians from other areas are gaining in popularity.东北方言的形成及特征
方言是一种社会现象，是形成普通话的基础,在特定场合里具有独特的使用价值和文化价值。现代汉语的多数方言的形成,既有外部的因素，也有内部的因素。外部因素主要社会、历史、地理大牛股，比如社会分化、人口迁徙、环境封闭、山川阻隔而导致交流不畅；内部因素主要是语音、语汇、语法诸方面再个地域发展的不平衡，与外族语言的接触等造成各具特色的方言。
Inspired by life
Another reason behind the popularity of this style of comedy is its close relationship with gra-roots society in China.Most performing arts in the Northeast originated among from the under-cla, and were then gradually adapted to fancier and more high-cla stages.For instance, the song and dance duet known aserrenzhuan, a local performing art in Northeast China, features two persons on a stage portraying down-to-earth figures who use everyday language and situations to make audiences laugh.Although sometimes suffering from the criticism that it comes acro as too crude, defenders of this form of comedy say that this “vulgarity” resonates with audiences because it allows them to see themselves.Many succeful northeastern short plays have been inspired by errenzhuan as well.Besides excellent punch lines, one factor that has contributed to these short plays' succe is that they reflect the characteristics of the era.This factor explains the succe of a TV series featuring northeastern actors.Called Country Love Story, this drama is already in its seventh season and has been shown on numerous satellite television stations.Performed by Zhao and his students, this series portrays a group of people from a village in Liaoning Province called Xiangyashan.Focusing on the most gra-roots of people, it is performed in the northeast dialect and has succefully won over an audience despite not featuring any big stars in main character roles or relying on a big production budget.东北喜剧小品和涉及东北农村题材的电视剧之所以成为央视春晚和其它电视台黄金档期的“主菜”，从语言与地域的角度分析，与历史文化传承有很大关系，而国家推行以北方方言为基础的普通话则无意中助推了这种进程。
中国北方地域辽阔，地域间的语音差别不大，加之大体相同的生活方式，使得相互间很容易领会对方语言的正反隐义。国家大力推行普通话，也扩大、巩固并强化了北方语系的使用区域，而东北小品及电视剧所用语言既有方言特点，又比较接近普通话，正是借此东风，才使得表演与受众之间建立了语言接收系统与情感沟通的渠道。
When audience numbers reached an all new high during its third season, former director of Beijing Television Zhang Xiaoai commented, “It is down to earth with stories based on life experience.Its true secret is its cast.They never deviate from their focus on farmers and telling stories about common folk.”
东北是一个多民族聚居的地区，随着东北各民族300多年的互相融合，逐渐形成了今天的情形，其中，至今还保存着很多反映当地少数民族风俗文化的词语，从而使东北方言呈现出别具一格的特色。在地理环境上，广袤的东北大地，交流沟通的直接无碍，形成独特的东北方言。东北方言的历史成因是由当地各民族语言文化相互融合而产生的，同时东北方言深受俄、日、韩等周边国家语言和文化的影响。根据现代汉语的方言分区，东北方言属于“官话”，即北方方言，它作为中国北方方言的次方言——东北方言,其幽默、夸张、简洁、生动、形象,富于节奏感,与东北人开朗、不拘小节、大气、豪放、直率、幽默的性格相当神似。不难看出，东北方言是由自然的陶冶和历史的熔铸而造成和演化的独特的文化艺术现象。那么，东北方言小品为什么成就了那么多演员？为什么赢得了那么多观众？为什么有那么大的艺术魅力？我认为主要有以下几点。
一是小品的创作、表演人员并非出自高居庙堂的“学院派”，许多言语动作来自底层、来自生活，与农民兄弟的生活与情感血脉相连，带有极强的原生态性质；二是欣赏小品与欣赏交响乐、芭蕾舞不同，不需要相应的艺术修养或文化启蒙。换言之，受众比较广，欣赏门槛低。当农民成为受
众的主力军，其心态、喜好以及审美观，必然会在喜欢的节目中打上自己情感与精神的烙印。东北小品之所以走红，恰与我国现阶段经济发展水平和文化现状相契合。除上述二点外，东北方言小品还有应该最大限度地凸现东北地域特色，并散发出浓烈的、原汁原味的乡土气息；应该使艺术舞台更加真实的再现生活，更加生活化地表现生活；应该更加贴近生活，贴近观众，进一步增强艺术的审美情趣，等等这些，在这里就不一个一个叙述了。
During this year's Lantern Festival Gala on February 14, two crotalk performers from Shaanxi Province, Wang Sheng and Miao Fu, were praised for their work, parts of which were performed using the Shaanxi dialect.“Their script was really well written.Their punch lines work for speakers of Putonghua, northeastern dialects or any other dialect.This shows how crucial a good script is,” Shen Teng commented.
