1985年，【表演工作坊】推出了一齣以「相聲」為主要表演形式的舞台劇——《那一夜，我們說相聲》，演出後造成轟動，由於它突破了傳統相聲的框架，亦創新了劇場表演的模式，大膽的嘗試將傳統相聲與現代劇場元素結合，加上【表演工作坊】之後又陸續推出一系列以相聲為表現形式的舞台劇作品，在媒體不斷的報導與宣傳下，「相聲劇」已經成為此種表演形式的代名詞，1988年所成立的【相聲瓦舍】，便是追隨相聲劇創作路線的最典型例證。 然而時至今日，對於「相聲劇」的描述及界定各家說法仍有歧異，在經過分析與研究之後，筆者針對「相聲劇」提出看法：「相聲劇是融合相聲與戲劇二者的表現方式、藝術特質，並能傳遞出核心議題的一種表演藝術。」在結構分析上，可分成兩大類：「情節結構相聲劇」和「拼貼結構相聲劇」。 除此之外，本研究亦聚焦在【相聲瓦舍】相聲劇作品的特徵表現上，分別從「外在特徵」和「內在特徵」兩部分進行觀察與分析，並根據研究結果預測【相聲瓦舍】未來所要面臨的課題。In 1985, Performance Workshop released a stage play, The Night We Became Hsiang-Sheng Comedians, mainly in the form of xiang-sheng and it made a hit. The foresaid play broke the frame of the traditional xiang-sheng and innovated the formula for theater performance. It also boldly tried to combine the traditional xiang-sheng and the elements of modern theater. After that, Performance Workshop proceeds a series of stage plays one after another based on the performance form of xiang-sheng. Furthermore, due to the promotion and reports of the media, xiang-sheng plays seem to be the pronoun of the performance model. Comedians workshop established in 1988 is the typical example following the creation route of xiang-sheng plays. Up to now, however, the definition and description of xiang-sheng plays are divergent from each faction. After the research and analysis, I express my viewpoint about xiang-sheng plays—a xiang-sheng play is a performing art which combines the performance styles and art characteristics between xiang-sheng and drama and transmits the core issues. As for the analysis of the structure, it divides into two parts—Plot structure xiang-sheng plays and Collage structure xiang-sheng plays. In addition, this research also focuses on the performing characteristics of the works of Comedian workshop and proceeds the observation and analysis on external and internal features. It predicts the issues Comedian workshop will face in the future based on the research results.
