by 陶一逃
逃一逃痛失播客搭子后另起炉灶的船新项目 没有提纲，没有剪辑，想到哪里说到哪里 一个试图从悲惨生活中短暂逃离的逃生出口
Language
🇨🇳
Publishing Since
10/7/2023
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1 available
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April 7, 2025
<p>主播淘一逃病愈更新，因为实在不知道聊啥，re了逐梦亚军的出场秀《这个杀手不大冷》</p><p>重温旧梦，表达了一些对蒋龙老师的爱，期待逐梦亚军大卖特卖（各种意义上）</p><p>以及感谢玲珑塔门市部村长老师的大力支持</p>
March 5, 2025
<p>本期依据日高水穗老师的两篇论文，介绍了昭和前期漫才的形成历史、角色关系，以及底包袱的使用方法</p><p>主要使用的材料是日本话艺漫才的奠基之作《早庆战》，原作的完整音频可以在b站上看到</p><p>03:09 本期提要和参考文献</p><p>05:15 漫才曲艺形式的来源：万歳・万才・軽口（俄）</p><p>09:15 一段老明治軽口，非常正宗</p><p>13:35 从“太夫·才藏”到“シン・ピン”</p><p>20:30 吐槽（ツッコミ） 是1960年以后才出现的新称呼</p><p>25:50 昭和前期漫才的6种「オチ」（也就是相声的“底”）</p><p>31:05 传统漫才的三段结构</p><p>34:15 漫才包袱的铺、抖、翻：フリ・ボケ・ツッコミ</p><p>36:40 传统昭和老漫才的开头「早慶戦」的入活（横山エンタツ・花菱アチャコ 1934）</p><p>46:45 昭和前期漫才与现代漫才间的风格差别</p><p>54:00 传统昭和老漫才的开头「早慶戦」的两版底包袱</p><p>60:00 日高老师的结论：漫才“底”用法的演变所见出的角色关系变化</p><p>参考文献：</p><p>1. 日高水穗：漫才の賢愚二役の掛け合いの変容―ボケへの応答の定型句をめぐって（国文学（関西大学国文学会） 101 2017）</p><p>2. 日高水穗：結末部分の定型化からみる東西漫才（國文學 105 282-263, 2021-03-01）</p><p>3. 日高水穗：発話方向からみたマンザイブーム期の東西漫才（國文學 104 500-485, 2020-03-01）</p>
February 13, 2025
<p>本期和大家分享的是漫才兄弟（徐浩伦 谭湘文）二位演员的双人喜剧《体检》</p><p>并和奇志大兵的相声《治感冒》以及日本漫才组合ミキ的段子『視力検査』做了对读</p><p>01:30 谁来告诉我啥是对口白话？</p><p>03:10 徐浩伦与谭湘文两位演员与相声的渊源</p><p>05:00 为什么脱口秀演员组成的漫才搭子不好笑？</p><p>10:00 相声演员比脱口秀演员强在哪儿，差在哪儿？</p><p>12:37 脱口秀演员应该学会对语言（节奏/音高）的考究 </p><p>16:30 漫才兄弟是中文双人喜剧的究极形态！</p><p>19:30 奇志大兵《治感冒》</p><p>24:03 以角色上台，南派相声其实是一种不带布景的短剧</p><p>27:10 子母哏的绝技：不知不觉的捧逗关系互换</p><p>32:27 奇志老师捧哏技巧和人物塑造的结合：因为愚蠢，所以迷信</p><p>42:15 漫才兄弟《体检》</p><p>44:06 比相声更简洁，比漫才更易懂</p><p>45:03 漫才兄弟对《治感冒》的致敬</p><p>56:25 兄弟漫才 ミキ『視力検査』 </p><p>61:38 什么是场景错置（隐喻性的人物关系）</p><p> </p><p> </p><p> </p>
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