滑稽戏，上海及其周边吴语地区地方传统戏剧，国家级非物质文化遗产之一。

Farce, one of the national intangible cultural heritage, is a local traditional drama in Shanghai and its surrounding Wu dialect areas.

滑稽戏是在清末民初至抗日战争中期时，由上海的曲艺“独角戏”接受了中外喜剧、闹剧和江南各地方戏曲的影响而逐步形成的新兴戏曲剧种。它流行于上海、江苏、浙江的许多地区。它的传统剧目中保存了上海的民俗和“十里洋场”特有的世俗，其创作方法又极具海派特征。

From the end of Qing Dynasty to the middle of the Anti Japanese War, farce is a new type of opera, which was gradually formed by the influence of comedy, farce and local opera in Jiangnan. It is popular in many areas of Shanghai, Jiangsu and Zhejiang. Its traditional repertoire preserves the folk custom of Shanghai and the unique Secularity of "shiliyangchang", and its creative method is highly Shanghai style.

滑稽戏是笑的艺术，在笑声中演喜剧性的故事情节，在笑声中揭示戏剧性的矛盾冲突，在笑声中展现人物性格，在笑声中完成剧本主题，在笑声中获取预期的社会效果。

Farce is the art of laughter. It plays comic plots in laughter, reveals dramatic conflicts in laughter, shows characters in laughter, completes script theme in laughter, and achieves expected social effects in laughter.

每一部滑稽戏里都包含着不同个性的人物，这些人物或是正面形象，或是反派角色。在滑稽戏里，不论正面的或者反派的，大人物或者芸芸众生，都应该发掘并突出他们性格的喜剧性的一面。也就是说，编导演都要设计和体现人物的喜剧性性格，这种喜剧性的性格必须镶嵌在人物的思想、语言和行动中。

Each farce contains characters with different personalities, either positive or negative. In farce, no matter the positive or the villain, the bigwigs or the masses should explore and highlight the comic side of their character. That is to say, editors and directors should design and embody the comic character of characters, which must be embedded in the characters' thoughts, language and actions.

喜剧性语言是滑稽戏的核心要素之一，一出优秀的滑稽戏需要依托大量的喜剧性语言完成强烈的喜剧效果。有了喜剧性情节和喜剧性性格，人物的喜剧性语言就有了扎实的根基。在喜剧性的规定情境里，让具有喜剧性性格的人物，讲喜剧性的语言，便是十分顺理成章了。滑稽戏里对于喜剧语言的设置乃至使这些喜剧语言真正产生喜剧效果，有着自己的规律和技巧。

Comic language is one of the core elements of farce. An excellent farce needs to rely on a large number of comic language to achieve strong comic effect. With comic plot and comic character, the comic language of characters has a solid foundation. In the specified situation of comedy, it is quite natural for the characters with comic character to speak comic language. The setting of comic language in farce has its own rules and techniques, and even makes these comic language produce comic effect.

滑稽戏的剧目大致可分五类：第一类，是根据独脚戏的“段子”发展和改编成的。其中《三毛学生意》《七十二家房客》，因其思想性深刻，艺术性完整，已成为滑稽戏优秀的传统来保留剧目，并被搬上了银幕。第二类，是从文明戏移植而来。主要有《方卿见姑娘》《包公捉拿落帽风》《济公》等。第三类，是解放初期，从话剧、戏曲、电影剧本移植、改编的。移植的地方戏剧目，有《苏州二公差》（即《炼印》）、《好好先生》（即《三家福》）；根据话剧剧本改编的，有《幸福》《西望长安》等；根据话剧剧本改编的，有《小九妹》（即《蜻蜒姑娘》）、《万无一失》（即《天罗地网》）等。第四类，是根据外国剧本改编的如《活菩萨》一剧，连演连满一年零九个月，创自有滑稽戏以来演出场次最多的纪录。第五类，是新创作的剧目。如《样样管》《不夜的村庄》《满园春色》《性命交关》《一千零一天》等。

The repertoire of farce can be roughly divided into five categories: the first category is based on the development and adaptation of monologues. Among them, "San Mao's students" and "72 lodgers" have become excellent traditions of farce because of their profound ideology and complete artistry. They have retained the repertoire and been put on the screen. The second type is transplanted from civilized drama. There are mainly "Fang Qing meets the girl", "Bao Gong catches the wind of falling hat", "Ji Gong" and so on. The third type was transplanted and adapted from drama, drama and movie script in the early days of liberation. The transplanted local operas include Suzhou Er Ying (Lian Yin) and Hao Hao sir (San Jia Fu); the adapted local operas include happiness and looking at Chang'an in the West; the adapted local operas include little nine sisters (Dragonfly aunt) and no mistake (Tianluo Diwang). The fourth type is adapted from foreign scripts, such as the living Bodhisattva, which has been performed continuously for one year and nine months, setting a record for the largest number of performances since its own farce. The fifth category is newly created plays. Such as "everything", "village without night", "spring in the garden", "sex and life", "one thousand and one days" and so on.

2011年5月23日，滑稽戏经国务院批准列入第三批国家级非物质文化遗产名录。

On May 23, 2011, farce was approved by the State Council and listed in the third batch of national intangible cultural heritage list.