摘要
作为一种地方艺术,传统相声为北京市民提供了重要的娱乐。在"十七年"里,相声转变成了国家性的教化艺术。为了兼顾国家的话语与地方的娱乐需求,相声的从业者们创制了以《资本家与洋车夫》为代表的"化妆相声",他们动用"双名制"的策略,强化了相声的教化主题,响应了国家的文艺政策;又保留了相声中的娱乐因素,满足了地方民众的需求。
Traditional xiangsheng is a local entertainment for Beijing citizens. During 1949-1966, xian- gsheng transformed into a national didactic art. In order to satisfy the needs of both state discourse and lo- cal entertainment, composers created a new genre： ＂huazhuang xiangsheng＂, represented by ＂Capitalist and Rickshaw Man＂. Using ＂double-naming method＂, they highlighted the didactic theme of xiangsheng to adjust to the cultural policies of the state, while kept the entertaining elements to meet the needs of local people.
出处
《内蒙古师范大学学报（哲学社会科学版）》
2015年第3期5-10,共6页
Journal of Inner Mongolia Normal University：Philosophy and Social Sciences Edition
基金
博士后科学基金资助项目"当代都市民间文化的再生产:以北京相声为个案"(2014M550965)阶段性成果
关键词
“化妆相声”
“双名制”
国家
地方
＂huazhuang xiangsheng＂, ＂double-naming method＂, state, local
