赵氏小品的幻想主题批评模式兼论其文化推广

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Chapter I Introduction

1.1 Background of the Study

In 1983, comic sketches were boarded for the first time on the CCTV Spring

Festival Gala. And now it is still one of the most popular art forms. Perhaps

intentionally, perhaps a coincidence, there are two television channels simultaneously

have a program reviewing Chinese comic sketches: “Comic Sketches in Recent 20

Years of China” on CCTV and “Chinese comic sketches 20 years” on Hebei TV intend

to choose “Top Ten comedians” and “Ten classic comic sketches.” Up until now, Zhao

Benshan and Chen Peisi, are chosen as the top two comedians, and “Beyond Family

Planning Guerrillas” (超生游击队) and “Yesterday, Today and Tomorrow,” (昨天，今

天，明天) are the top two comic sketches.

Comic Sketches can bloom out of the ivory tower from the initial drama, opera

institutions practice works into nowadays the well-known art form, the popular literary

style, which should be contributed to the CCTV Spring Festival Gala. The producer of

“Comic Sketches in Recent 20 Years of China” shows Mr. Wang, who manages the first

CCTV Comedy Sketch Competition in 2008, says that in the last century 80’s, the

beginning of the policy of reform and opening up, with the fast development of science

and technology, TV is getting into people’s homes, and the comic sketch has gradually

become an art. If the scientific and technological progress had not been fast enough, if

the TV had not been widely popular, if there had not been New Year Gala, the audience

would know TV Comic Sketch a long period of time later. The other factor that makes

the comic sketches impressive and popular should be ascribed to the artists who

compose it and those who perform it. Zhao Benshan’s comic sketches, mostly

composed by He Qingkui and Gong Kaibo, which are usually set in the context of

peasantry, are relatively systematical and theme-outstanding.

Now comic sketch is so popular that it blooms not only in the domestic but also in

the international market. However, during the process of promoting the comic sketch,

difficulties and setbacks occur. In fact, there are many things that people immediately

prime when asked about the main differences between Western and Chinese culture.

One of the more complicate differences to grasp is comedy. The reason is that a very

high language level is required to understand most humor. Cultural background is

usually necessary as well. Many foreign audiences find it unfunny and without any

Toward Analysis Of Fantasy -Theme of Zhao Benshan’s Comic Sketches and Its Cultural Promotion

sense even when they have previously studied the dialogue.

With this comedic culture gap in mind ，the author sets about learning Zhao

Benshan’s comic sketches. During the process of studying his works and analyzing

them by fantasy-theme criticism, the author finds that there is a fantasy-theme in each of

Zhao’s comic sketch, and these fantasy themes make the comic sketch much more

understandable, acceptable and meaningful.

It is certainly beneficial that more experts and scholars all over the world do the

relevant research. In July, 2010, while doing the reference collection, the author took a

chance on the internet to e-mail with Zhao Benshan’s Studio stuffs asking them about

Chinese comedy. They pointed out that a lot of Chinese humor comes from subtle

language use and reference-like saying something without actually describing it in full.

They said there are now still various different viewpoints toward Zhao’s comic sketch,

and it is necessary to do the research not only on its language, but its significance in

cultural promotion and other aspects as well.

Arts should be regarded in spite of whether it is elegant or vulgar. When people

listen to the elegant symphony mesmerizedly, it dose not prevent those people listening

to a street- paradoxical joke. And Zhao Benshan’s comic sketches, especially those

shown on Chinese Spring Festival Gala, making people across the country feel happy

and laugh, can be considered as a great merit. Zhao Benshan’s comic sketch is lively

and expressive. The expressions in his works are rich in variety, creation, music beauty,

semantic harmony and popularity. And the fantasy-theme which is expressed and

conveyed by the sketch is profound and far-reaching. Research on the fantasy theme for

Zhao Benshan’s comic sketches enables us to have a better understanding of his works

and its tendency.

1.2 Purpose of the Study

The study is undertaken to analyze the fantasy-theme of Zhao Benshan’s comic

sketches, and investigate the fantasy-theme construction in his works. Finally, the study

tries to carry out the application of Zhao Benshan’s comic sketches in cultural

promotion, drama writing and other fields as well. The research questions to be

addressed in the study are: 1.Why people laugh in these comic sketches? 2. Why Zhao’s

group, including the screenwriters, actors and actresses make people laugh in such a

way? 3. What is the influence of Zhao’s comic sketches? All the three questions would

Chapter I Introduction

be illustrated in the perspective of fantasy-theme criticism.

The thesis tries to realize an empirical study based on the theories of Bormann,

Bales, Foss, Sonja and Kenneth, Burke. Just as some psychologists and sociologists

have studied the small group in order to discover features of larger social structures, so

can investigations of small group communication provide insight into the nature of

public address and mass communication. It is this theoretical basis that makes the study

practical and feasible. Therefore the author chooses fantasy-theme criticism as a

methodology to demonstrate the hypothesis that there is a fantasy-theme in each of

Zhao Benshan’s comic sketches, and each of these fantasy-themes construct the modal

societal fantasy of Zhao Benshan’s comic sketches--unbiased representation in the name

of peasants’ image.

The author, through a survey of Zhao Benshan’s typical comic sketches (most of

his works from 1990-2010), including case study for Selling Crutches (卖拐)and Selling

Wheelchair (卖车 ), analyzes his linguistic expressions, summarizes the main

characteristics of his humor style, discusses briefly the factors influencing his humor

style all of which are compiled and performed to reflect the fantasy themes of the

sketches, then a higher level –fantasy types are generalized as similar scenarios

involving the same setting themes, character themes, and action themes. Finally, the

fantasy types swirl to provide a particular interpretation of reality, known as rhetorical

vision. The rhetorical vision shared in Zhao’s sketches provides the audience with a new

image of Chinese peasantry

1.3 Overall Structure of the Thesis

The whole thesis is composed of the following six chapters:

In Chapter One, background and purpose of the study, the overall structure of the thesis

are introduced.

In Chapter Two, literature related to the topic of this study is examined. The

research background is divided into three parts. The first part introduces the definitions

of comic sketches, the second part concludes its history and development, and the last

section is mainly about the studies on comic sketches.

In Chapter Three, the methodology of this study is explained. It summarizes the

theoretical framework of fantasy-theme criticism. The content includes illustration of

the notion, root, basic concepts, assumptions, research procedure and applications of

Toward Analysis Of Fantasy -Theme of Zhao Benshan’s Comic Sketches and Its Cultural Promotion

fantasy-theme criticism.

In Chapter Four, the author discusses the phenomenon of the popularity Zhao

Benshan’s comic sketch. And the fantasy-theme criticism is used to analyze Selling

Crutches (卖拐) and Selling Wheelchair （卖车）and other his comic sketches as well.

In discussing Zhao Benshan’s comic sketch, including the characteristics, the strategies,

and above all the fantasy theme, the author comes to a brief conclusion that the modal

societal fantasy of Zhao Benshan’s comic sketches is to reconstruct images of Chinese

peasantry.

In Chapter Five, the author discusses the significance of the study. The significance

is explored in two aspects: the first one is the cultural promotion by Zhao Benshan’s

comic sketches, and the other is the application of the analysis of fantasy-theme

criticism, specially its application in drama writing.

In Chapter Six, the whole thesis is summarized, including the major findings, the

limitations of the present research and suggestions for further study.

Chapter II Literature Review

2.1 Definition of Comic Sketches

As is defined in Wikipedia dictionary, comic sketch is made up of a collection of

short comedy scenes or vignettes, which is also called “sketches”. Generally it lasts for

about fifteen minutes. The performers of such sketches are usually a variety of comic

actors; they perform either on stage or through an audio or visual medium such as

broadcasting. Often the actors improvise these sketches and then record their inspiration

opinions based on the result of these improve sessions (an improve session is a form of

theatre in which the improvisational actors/ improvisers use improvisational stage prop

to perform when they act); however, not all sketch comedy covers the improvisation

(Wikipedia dictionary).

An individual sketch or vignette is a brief scene or skit formerly used in vaudeville

and used today on variety shows, comedy programs, adult entertainment, talk shows, or

certain television programs.

In China, the earliest comic sketch is used as a way to test the students majoring in

art. Around the early 1980s, comic sketch appeared as an independent performance in

Spring Festival Gala. The humorous and funny effects it brought to the publics are

highly appraised. It is from that time that comic sketch become accepted by more and

more people. As is known to all, there are many famous comic sketch actors in China,

like Zhao Benshan, Fan Wei, Guo Da, Zhao Lirong, Gong Hanlin. With its popularity

and development of its broadcasting medium, comic sketch is regarded as an

indispensable unique art form which has won unprecedented wealth.

2.2 History and Development of Comic Sketches

Historically, the sketches are thought to be irrelevant, but recently more and more

people introduced overarching themes that connect the sketches within a particular show,

with recurring characters that return for more than one appearance.

To study from the perspective of culture attribute, the sketch is a form of mass

culture; to talk about historical origin it is a contemporary branch of the Chinese

traditional funny art speaking of the historical origin. It is the 1983 Spring Festival

evening that marks the comic sketch’s formal entry into contemporary culture. Some

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摘要：

ChapterIIntroduction1ChapterIIntroduction1.1BackgroundoftheStudyIn1983,comicsketcheswereboardedforthefirsttimeontheCCTVSpringFestivalGala.Andnowitisstilloneofthemostpopularartforms.Perhapsintentionally,perhapsacoincidence,therearetwotelevisionchannelssimultaneouslyhaveaprogramreviewingChinesecomicsk...

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