女相聲研究

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題名:	女相聲研究
作者:	葉怡均;Yeh, Yi-Chun
貢獻者:	中國文學系
關鍵詞:	女相聲;相聲;女演員;口語;滑稽表演;Female’s Xiangsheng;Xiangsheng（Crosstalk）;actress;oral;farcical performance
日期:	2019-01-28
上傳時間:	2019-04-02 14:12:45 (UTC+8)
出版者:	國立中央大學
摘要:	「女相聲」研究摘要　　相聲，是中華民族傳統的口語滑稽表演，它以說為主、以逗當先，興起於京津一帶，流佈於各地，凡是華人社會，無不喜聞樂見；然而演員多、研究者眾，卻從不曾自性別切入，探討女性在相聲行業裡之獨特境遇，本論文乃首開先例。　　本論文探討「女相聲」，地域範圍以大陸與臺灣為限，研究範疇自30年代女性加入相聲的行列開始，當時女演員在男性師父的教導之下，使用男性的腳本、模仿男人的表演、逗男觀眾笑，在男性的環境裡謀生，從不覺得需要改變，直到50年代行內男演員大鳴大放直指女性不適合說相聲，女演員才驚覺這個行業自始至終與自己扞格不入，開始探索如何有別於男性，從「假小子」形象裡破繭而出綻放女性獨特的風采，及至出現了為女性量身訂做的腳本，「女相聲」由是而起，至今幾經起落，「女相聲」的概念愈來愈清晰、作品愈來愈多元，但女性仍不曾出現過一個公認的典範、且許多優秀的女演員最終選擇了轉業！為什麼？本論文擬就相聲藝術的形式、內容、審美等面向一一檢視，以探究其原因。　　本論文有三個特點，第一，筆者是相聲女演員、說相聲超過三十年，對女性說相聲有深刻的體會，又因為生長在臺灣而未受傳統的、行內的觀念所綁縛，以至於能夠將脫口秀作為相聲的對比項目，來辨察同樣是口語滑稽表演，女演員於不同的文化情境底下所蘊生的認知差異；第二，筆者熟識兩岸的同行，故本論文將以相聲界的男女演員與研究者為主要考察、訪談對象，以「歷史」為骨幹、以「人」為血肉，藉由現身說法真實地呈現女性說相聲所遭遇的種種限制、衝突與覺醒；第三，本論文蒐集、整理了一批「女相聲」代表性作品，用作品來呈現相聲女演員的努力，以作為未來「女相聲」創作與研究之依據。 ;The Research on Female’s Xiangsheng ABSTRACT Xiangsheng（Crosstalk）is a Chinese traditional oral and farcical performance. When performing, telling is its main skill and teasing is its tool at the head. It is risen up from the areas of Beijing and Tianjinand spread over everywhere. It is delighted to watch and see in the Chinese districts. Although there are many actors and researchers, they never explore, on the gender point of view, the female unique situations in Xiangsheng industry. This thesis will establish a precedent studying the topic on the female in Xiangsheng industry. The thesis is studied about“Female’s Xiangsheng”. The studying area is limited in mainland China and Taiwan and the studying scope has begun from1930’s which the actress joined the Xiangsheng performing. Under the teaching and the script controlled by the male master, the actress could only imitated man’s performing and made the audiences laugh to live a life at those times. The actresses didn’t think that they needed to change. Until 1950’s, the actors criticized seriously to point out that the female should not be suitable for the performance of Xiangsheng. The actresses were just aware that they did not accord completely to the industry from now on and started to search for how to make differences with the actors. They broke out with the image “Tomboy” to blossom the female charming in the performance and tailored to write the scripts by themselves. As a result, Female’s Xiangsheng came to appear, although it had been once up and down, the concept of Female’s Xiangsheng was concrete and the pieces of works were more and more diversified. But, Female’s Xiangsheng did not set a public paradigm and many actresses chose to change the career. Therefore, the thesis looks forward to exploring the reasons by the aspects of form, context and aestheticsin the art of Xiangsheng. There are three characters in the thesis. At the first, the author is an Xiangsheng actress who has told Xingsheng over 30 years and had the deep experience for the female performing. Born in Taiwan and not be bounded by the traditional and principle notion, the author can check out the cognitive distinctions of the female actors in different cultural context through comparing with Talk Show and Xiangsheng. Secondly, the author was familiar with theexperts of Xiangsheng in the main China and Taiwan, so the thesis uses them as exploring and interviewing targets by the mainbone of history and the flesh of performer to depict the confliction, limitation, awakening for the female in Xiangsheng industry. Thirdly, the thesis collects and deals the classic works of the Female’s Xingsheng to represent their endeavors and to offer references for the Female’s Xingsheng studying and creations in the future.
顯示於類別:	[中國文學研究所] 博碩士論文

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