赵本山春晚小品中的“农民”

On the "Farmers" in Zhao Benshan's Sketches at Spring Festival Evening Parties

论文从"被农民"、"老农民"、"超农民"三个方面清理了赵本山春晚小品与"农民"这一现代性话语的内在纠葛。通过对赵本山春晚小品的历时性考察,认为赵本山选择表演现在这样为人熟知的"农民"形象,是一个多方合力的结果;他持续多年以"老农民"形象示人,这种角色的稳定性是他成功的原因之一;春晚的审查筛选机制助长了赵本山塑造的农民形象的固定化,限制了赵本山艺术才能最大限度的发挥。

This paper attempts to sort out the intrinsic dispute between Zhao Benshan＇s sketches at the Spring Festival Evening parties and the ＂farmer＂—a discourse of modernity in three aspects： ＂the imposed farmer＂,＂the old farmer＂,and ＂the super-farmer＂.Through a diachronic survey of Zhao Benshan＇s sketches at Spring Festival Evening parties,this paper opines that Zhao Benshan＇s choice of the farmer,an image well familiar to the audience,is a result of concerted efforts,and that Zhao＇s part of the farmer for years on end is one of the reasons for his success thanks to its stability.Moreover,while the examination and screening mechanism of the Spring Festival Evening Party has helped contribute to shaping the image of immobilized farmers acted by Zhao Benshan,it has meanwhile restricted the maximal demonstration of Zhao Benshan＇s artitsic capacity.