相聲藝人「把點開活」現象之研究

A Study in the ''Ba-dian-kai-huo'' Cases of ''Xiang-sheng''

相聲，是一項傳統的表演樣式，是「在中國文化系統下經過長期發展而定型的一項口語滑稽之個人伎藝樣式」，它所使用的語言具有文化內涵自不逮言；然而相聲表演並非照本宣科，相聲藝人善用「把點開活」（也有記作「拔點開活」的）久矣，卻泰半知其然而不知其所以然，孰料這種因應現場情況而出現的口語即興表演展露出相聲語言的動態性質，恰巧與近代語言學之旁系—言語交際學所提出「動態的語言」的觀點不謀而合。筆者富有相聲實演經驗，藉本文對相聲藝人「把點開活」現象進行探索，除分析此一言語行為現象運作的情況如何、什麼條件支持它成立之外，並首開前例試從言語交際行為的角度進行考察，以期對此由來已久、習以為常的現象展開一些新的探索。

“Xiang-sheng”, the traditional Chinese comic dialogue, is the most popular custom of Chinese folk art. Since early time,“Xiang-sheng”performers have been not only parroting a text but also joining verbal improv at a right moment during the performance. As time went on, the improv deeds became a sort of professional skill and got a buzzword, they called it“Ba-dian-kai-huo”. Nowadays,“Ba-dian-kai-huo”is a significant characteristic of“Xiang-sheng”, but the buzzword itself is still a riddle that puzzles people. This article will try to study in the“Ba-dian-kai-huo”cases of“Xiang-sheng”, to find the hidden rules, and to inspect it according to the principles of Verbal Communication.