CAJ | 학술논문

从语言、人物、结构、文化内涵等方面观照郭德纲的相声文本，可以感受到其中突出的后现代主义特征。他的相声可以说是一场狂欢化的语言游戏；人物塑造戏拟神圣、精英、偶像，彰显世俗、卑琐、草根的底层人物和民间百态；技术上突破“三番四抖”的经典结构，使相声的整体框架和节奏变得急促、零散、多元混杂；文化内涵上，他的作品既有针对主流文化的“解构”锋芒，又在“建构”和重组民间、传统、民族等元素方面，表现出后现代主义本土化的建设性取向。
종어언、인물、결구、문화내함등방면관조곽덕강적상성문본，가이감수도기중돌출적후현대주의특정。타적상성가이설시일장광환화적어언유희；인물소조희의신골、정영、우상，창현세속、비쇄、초근적저층인물화민간백태；기술상돌파“삼번사두”적경전결구，사상성적정체광가화절주변득급촉、령산、다원혼잡；문화내함상，타적작품기유침대주류문화적“해구”봉망，우재“건구”화중조민간、전통、민족등원소방면，표현출후현대주의본토화적건설성취향。
If we take Guo’s comic dialogue as a text, we can feel its postmodern characteristics. This is mainly mani-fested in four aspects: language, characters, structure, cultural characteristics. The language of his comedies is very mundane, making the comic dialogue just like a game. The characters in his comedies have nothing to do with elites and idols, but have to do with humble persons. What is more, Guo breaks the old structure of comic dialogue. As for the cultural characteristics, not only does Guo fight against the mainstream culture, but also he stresses the construction of the traditional comic culture.