图为话剧《戏台》剧照。制图：赵偲汝

The picture shows the stills of the drama stage. Drawing: zhaoruru

当我们深入中国喜剧传统，领悟到喜剧表演技巧，以深厚的历史和文化作支撑，创作喜剧的信心就会显著增强。

When we go deep into the tradition of Chinese comedy, understand the skills of comedy performance, and support it with profound history and culture, our confidence in creating comedy will be significantly enhanced.

核心阅读

Core reading

喜剧艺术当随时代不断创新，时代越是发展、科技越是进步、表现方法和手段越是丰富，我们越要回溯源头，回归艺术本体，遵从艺术规律。

Comedy art should be constantly innovated with the times. The more the times develop, the science and technology progress, and the more abundant the methods and means of expression. The more we have to go back to the source, return to the noumenon of art, and comply with the laws of art.

喜剧创作者一定谨记：作为一种大众文艺形式，喜剧是为观众服务的；真正好的演技需要通过一场场现场表演，与观众频繁互动才能磨炼出来。

Comedy creators must bear in mind that as a form of popular literature and art, comedy serves the audience; The real good acting skills need to be refined through a live performance and frequent interaction with the audience.

喜剧是创造笑的艺术和学问，研究喜剧的传统、了解喜剧的本质，喜剧创作就会事半功倍。

Comedy is the art and knowledge of creating laughter. It is necessary to study the tradition of comedy and understand the essence of comedy, and the creation of comedy will make twice as much effort.

研习喜剧传统，增强创作信心

Study comedy tradition and enhance creative confidence

喜剧在中国拥有悠久的历史。中国古代“谐谑”的概念就是通过语言创造笑声的艺术形式。在出土的汉代陶俑中，也有谐谑艺人。“善言为笑”，俳优是我国最早对职业化喜剧人的称谓，早在春秋时期，以乐舞谐戏为业的俳优就出现了。《史记·滑稽列传》记载了春秋时期楚国艺人优孟等人滑稽多智的故事，这些故事充满了喜剧的元素和张力。今天我们的很多喜剧，其实不知不觉运用了传统的形式和方法。比如传统戏曲《风筝误》《花田错》以“误”“错”为戏核：有误会就会出现令人发笑的情景，进而生发故事，形成喜剧。当下的误会喜剧也化用了“误”“错”这一传统方法，两个演员各说各的话，相互还能对上茬。可见，经典的创作方法在今天依然焕发勃勃生机。

Comedy has a long history in China. The concept of "banter" in ancient China is the art form of creating laughter through language. Among the unearthed pottery figurines of the Han Dynasty, there are also banter artists“ Haiyou is the earliest term for professional comedian in China. As early as the spring and Autumn period, Haiyou appeared in the industry of music, dance and comedy《 The funny biographies in historical records records records the funny stories of Youmeng and others in the spring and Autumn period, which are full of comic elements and tension. Many of our comedies today unconsciously use traditional forms and methods. For example, the traditional operas "kite error" and "flower field error" take "error" and "error" as the core of the drama: if there is misunderstanding, there will be a funny scene, and then the story will be generated, forming a comedy. The current misunderstanding comedy also uses the traditional method of "wrong" and "wrong". The two actors each say their own words, and they can fight each other. It can be seen that the classical creation method is still full of vitality today.

喜剧，从剧本、排练，到演出，一组组行动、一句句台词，就是为了赢得观众的笑声。观眼观心，如同踩着石头过河，那一个个石头都是创作者前期预设、精心准备、用心安排的桥段。演员和观众之间是交流、互为的关系，演员预设包袱、抖包袱，观众笑起来，演员再根据笑声接着抖包袱，把情节不断推进。所以，喜剧是创作者和接收者双方互动融合达成的艺术。

Comedy, from script, rehearsal to performance, is to win the audience's laughter. Looking at the eyes and heart is like stepping on stones to cross the river. Each stone is a bridge that the creator designed, prepared and arranged carefully. The relationship between the actor and the audience is communication and interaction. The actor presupposes the burden and shakes the burden. When the audience laughs, the actor shakes the burden according to the laughter and pushes the plot forward. Therefore, comedy is the art of interaction between the creator and the receiver.

当我们深入中国喜剧传统，领悟到喜剧表演技巧，以深厚的历史和文化作支撑，创作喜剧的信心就会显著增强。

When we go deep into the tradition of Chinese comedy, understand the skills of comedy performance, and support it with profound history and culture, our confidence in creating comedy will be significantly enhanced.

表现手段越丰富，越要遵循艺术规律

The richer the means of expression, the more we should follow the law of art

喜剧这种艺术形式，永远在求新、求异、求变。喜剧艺术当随时代不断创新，时代越是发展、科技越是进步、表现方法和手段越是丰富，我们越要回溯源头，回归艺术本体，遵从艺术规律。在谈创新之前，我们需要弄清喜剧的基本原理、逻辑和方法。

Comedy, as an art form, is always seeking novelty, difference and change. Comedy art should be constantly innovated with the times. The more the times develop, the science and technology progress, and the more abundant the methods and means of expression. The more we have to go back to the source, return to the noumenon of art, and comply with the laws of art. Before we talk about innovation, we need to understand the basic principles, logic and methods of comedy.

什么情况下观众会笑？喜剧在什么条件下才能生成？这些年，我一直在创作实践中摸索，也经历了从模糊到清晰的过程。小品《吃面条》有时代的影子，但作品技术还略显稚嫩；《主角与配角》探索了误会喜剧和错位喜剧的方法应用；《羊肉串》加入了更多喜剧技巧，独特的讲故事方法让观众眼前一亮；《警察与小偷》将四五个喜剧方法叠加，表现手段上远比前三个作品丰富，也给观众带来更多惊喜。这些年，我还创作了舞台喜剧《戏台》《阳台》等，追求更全面的喜剧表现，也尝试在悲喜剧之间掌握平衡的技巧。参与《金牌喜剧班》综艺，又让我了解到综艺喜剧这种新形式。

When will the audience laugh? Under what conditions can comedy come into being? Over the years, I have been groping in the creative practice, and also experienced the process from fuzzy to clear. The short piece "eat noodles" has the shadow of the times, but the work technology is still slightly immature《 Protagonist and supporting actor explores the application of misunderstanding comedy and dislocation comedy《 "Mutton kebab" adds more comedy skills and unique story telling methods to make the audience bright《 The police and the thief combines four or five comedy methods, which is much richer than the first three works and brings more surprises to the audience. Over the years, I have also created stage comedies, such as stage and balcony, in pursuit of more comprehensive comedy performance, and tried to master the balance skills between tragicomedy and comedy. Taking part in the variety show of "gold medal comedy class" made me understand the new form of variety comedy.

好的喜剧不仅仅靠表演，它一定建立在扎实的文本基础上。所以喜剧创作者要表演精进，更要关注文本。演过那么多喜剧，我最大的感受是，虽然喜剧是引人发笑的艺术，但其内核是摆脱困境。就像“滑稽”一词，“滑”是光滑、润滑，“稽”指困境，这个词就有摆脱困境之意。“摆脱困境”是角色行动的内驱力，有内驱力才会形成行动线。所以在创作之前，首先要把这个内核想清楚，想透彻。

Good comedy does not only depend on performance, it must be based on solid text. Therefore, comedy creators should pay more attention to the text as well as the performance. Having played so many comedies, my biggest feeling is that although comedy is an art that makes people laugh, its core is to get rid of difficulties. Just like the word "funny", the word "slippery" means smooth and smooth, and the word "Ji" means difficult position, which means getting rid of difficult position“ "Getting out of trouble" is the internal driving force of the role's action. Only with internal driving force can the action line be formed. So before you create, you should first think about the kernel clearly and thoroughly.

合格的喜剧剧本通过不同角色组成相悖的行动线而生发故事。对经典喜剧来说，一个主体故事往往穿插了更多角色、更多行动线，它们叠加一起，互为因果。拿建筑做比喻，只有不同材料互相支撑，才能不断延展、加高，搭建出摩天大楼。如果只关注一幕一幕的表演，而不讲究结构搭建，即便拥有再多的建筑材料，也只能搭成一个个单独的架子，不能凝结成一个有机整体。

Qualified comedy scripts generate stories through different characters forming contradictory action lines. For classic comedies, a subject story is often interspersed with more characters and more action lines, which are superimposed and cause and effect each other. Take architecture as an analogy. Only when different materials support each other can they continuously extend and heighten to build skyscrapers. If we only focus on the performance of one scene by one, rather than the structure construction, even if there are more building materials, we can only build a separate shelf, and can not condense into an organic whole.

喜剧创作有不同的层次。最粗浅的是模仿差异，因为笑的行为，与“势差”有很大关系。这包括角色之间信息不对称的势差，也包括表演者和观众之间的势差。而有了势差之后，演员们在编织出的关系网中精心地绕、躲、走、闪，观众就会产生自己的思索和价值判断，进而触发“笑点”，这样充满智慧的喜剧才是高级的喜剧。喜剧非常重要的一点是“度”的把握。幽默的产生需要打破固有秩序，但这种打破是有条件的，不能违反社会公序良俗。一些粗俗、鄙陋的喜剧往往会引起观众的反感。

Comedy creation has different levels. The most superficial is the imitation difference, because the behavior of laughing has a lot to do with "potential difference". This includes the potential difference of asymmetric information between the characters, and also the potential difference between the performer and the audience. When there is a potential difference, the actors will carefully circle, hide, walk and flash in the woven network of relationships, and the audience will have their own thinking and value judgment, and then trigger "laughing points". Such a comedy full of wisdom is a high-level comedy. A very important point of comedy is the grasp of "degree". The production of humor needs to break the inherent order, but this kind of breaking is conditional and can't violate the social public order and good customs. Some vulgar and humble comedy often causes the audience to dislike.

在长期的喜剧表演中，我还有一个体会，观众的笑是需要练习的。比如在看小品时，观众知道这是一种幽默的艺术形式，自然而然会放下顾忌、放声大笑。但如果在剧场看喜剧，会感到严肃而笑不出来。当一个喜剧包袱出现，观众首先左看右看，观察别人笑没笑，整个剧场好像被一根绳子紧紧绷住。这时突然一个观众忍不住，发出“哈哈哈”的笑声，众人才放心地笑起来。由此可见，喜剧人要设计好包袱，把握好尺度和节奏，带着观众养成笑的习惯。

In the long-term comedy performance, I have another experience that the audience's laughter needs practice. For example, when watching a sketch, the audience knows that it is a humorous art form, and will naturally put down their scruples and laugh. But if you watch comedy in the theater, you will feel serious and can't laugh. When a comedy burden appears, the audience first looks left and right to observe whether others laugh or not. The whole theater seems to be tightly tied by a rope. At this time, suddenly an audience couldn't help laughing, "ha ha ha", and all the people were relieved to laugh. Therefore, comedians should design a good burden, grasp the scale and rhythm, and develop the habit of laughing with the audience.

与观众频繁互动，打磨喜剧艺术精品

Frequent interaction with the audience, polishing the fine art of comedy

喜剧创作者需要通过技巧方法、故事讲述和人物行动等实现思想性，达到喜剧作品的高度。

The creator of comedy needs to realize the ideological nature through the technique, story telling and character action, and reach the height of comedy works.

表现和思想是有机统一的，千万不要把目的当成方法。有些喜剧创作，不注重结构和讲故事，仅仅用无厘头来解决故事中的矛盾冲突，想着怎样抓包袱“挠人痒痒”惹人笑，这就会成为问题。创造笑声是创作者的出发点，但不是创作的手段。眼里只有“包袱”，不去好好地结构故事，我觉得是本末倒置，也导致演员表演上的急功近利。

Performance and thought are organically unified, so we must not regard the purpose as the method. Some comedies don't pay attention to structure and story telling, just use nonsense to solve the conflicts in the story, and think about how to catch the burden and make people laugh, which will become a problem. Creating laughter is the starting point of the creator, but not the means of creation. In my eyes, there is only "baggage", and I don't want to structure the story well. I think it is the end of the list, which also leads to the actors' quick success and quick benefits.

很多演员眼睛里没有人，也不感受对手，在各自的场景里表演，观众很难自然而然地发笑。喜剧创作者一定谨记：作为一种大众文艺形式，喜剧是为观众服务的。喜剧创作者要拥有好心态，摆不正喜剧创作者与观众的位置，只会让观众和自己都尴尬。

Many actors have no one in their eyes and don't feel their opponents. When they perform in their own scenes, it's hard for the audience to laugh naturally. Comedy creators must bear in mind: as a form of popular literature and art, comedy serves the audience. The author of comedy should have a good mentality and put the position of the comedian and the audience wrong, which will only make the audience and himself embarrassed.

当前舞台喜剧、影视喜剧、综艺喜剧新作品不断涌现，这反映了社会对喜剧的强烈需求。这三类是不同的。舞台喜剧中，创作者直接面对观众。而在综艺喜剧、影视喜剧中，创作者和观众不处于同一个观演空间。有的演员认为，自己在综艺中表演得好，就能把喜剧演好。其实综艺喜剧、影视喜剧很多是通过蒙太奇剪接、后期制作才呈现出喜剧效果。而真正好的演技需要通过一场场现场表演，与观众频繁互动才能磨炼出来。之前我在电视屏幕上的一些小品，也都是经过上百场和观众真实的切磋打磨后，才去镜头前表演的。

At present, new works of stage comedy, film and television comedy and variety comedy are constantly emerging, which reflects the strong demand of society for comedy. These three types are different. In stage comedy, the creator faces the audience directly. In variety comedy and film comedy, the creator and audience are not in the same viewing space. Some actors think that if they perform well in variety shows, they can perform well in comedies. In fact, a lot of variety comedies and film comedies present comic effects through montage editing and post production. And really good acting skills need to be honed through live performances and frequent interaction with the audience. Before I was on the TV screen some of the small pieces, also after hundreds of real competition with the audience after grinding, before going to the camera performance.

在走南闯北的演出过程中，我很高兴看到当前喜剧品类越来越多，前来观看喜剧的观众也越来越多。每次看到观众或粲然一笑或捧腹大笑时，极有获得感。普及喜剧，把笑声带给观众，这是一位喜剧人幸福的来源，我大半辈子都致力于此。经过这几十年的打拼和磨砺，我的使命感越发坚定：用好的作品推广喜剧艺术、培养新的喜剧人才。光大喜剧艺术，中国喜剧人任重道远。

In the process of performing, I'm glad to see that there are more and more comedy categories and more and more audiences come to watch comedy. Every time I see the audience or smile or laugh, I have a sense of gain. Popularizing comedy and bringing laughter to the audience is the source of a comedian's happiness, which I have devoted most of my life to. After decades of hard work and honing, my sense of mission is more and more firm: using good works to promote comedy art and cultivate new comedy talents. The Chinese comedians have a long way to go to the Everbright comedy art.