九十年代以来的喜剧创作以其迅猛的势头、多样化的风格、新颖的形式和精神特点吸引着我们的目光。在喜剧时代的背景下，对戏剧喜剧这种集中体现当代喜剧精神的艺术形态进行总体性的研究甚为必要。它是我们观察中国喜剧变化的一扇窗口，更是我们探求中国当代精神变化的具有标志性的信号灯。相比于喜剧创作现象的驳杂和丰富，喜剧研究还停留在较为浮泛和点状的阶段。本文正是以九十年代以来的中国当代喜剧为研究对象，试对近三十年来喜剧创作的变化试做一总体性的研究。 1990年是告别启蒙拥抱世俗的年代的开端，由这一分界点肇始，中国社会世俗文化逐步兴起和发展。在这一情形下，喜剧的民间传统也迅猛地浮出水面。喜剧的民间传统与文人传统在九十年代以来发生了激烈的碰撞和重组，并逐渐形成了多层次的喜剧空间。与此同时，喜剧的内在精神和外在形式很敏感地受到当代社会文化环境的总体变化的影响。这些剧烈的调整，使喜剧总的来看出现了内向性和拟狂欢化的特点。它们在不同类型的喜剧中演化出了不同形态的表征。 传统讽刺喜剧中发生了沉郁、戏谑、抒情的美学变调。讽刺的刀笔既浮泛化地落在全景式的社会问题之上，又集中地表达了对权力阶层和舆论阶层的不满。借助于经典脱冕、历史寓言、语言游戏和疯人叙事的套子，讽刺以退避的姿态表现其有限度的社会反思和反抗。荒诞喜剧是自八十年代开始孕育，九十年代逐渐成熟的新的喜剧形态。它从形式和内涵上都最契合当代喜剧经验的表达。这一喜剧类型既潜入当代人精神深处，又从中跳出，以旁观者的姿态发现了人们生存处境中必然存在的悖论、差异和流动性，并用怪诞手法营造现代寓言去揭示上述的发现。现代幽默喜剧在近来引发了人们的追忆之情，正反映了当代幽默喜剧的匮乏。数量不多的幽默喜剧书写普通人的世俗生活，恢复了日常化的语言方式，以写实的手法表现平凡生活中的喜剧冲突，为满足大众的观赏趣味而出现了不同程度的情节奇巧化倾向——呈现出世俗化的面貌。幽默将矛盾引向人的内心，试图表现当代人内心世界的不安和分裂，以感伤化、理想化和道德伦理化的方式处理，又表现了其内向性的特征。滑稽喜剧则是当代喜剧中体量最大的一类作品，也是最被诟病的一类创作。然而本文将从历史的脉络下去正视这一类型喜剧的出现和兴盛的轨迹。进而分析这些数目庞大的滑稽喜剧中，新的时代病是如何在传统的叙事方式里呈现进而化解，以及其幻想性和快感主义主导的喜剧美学的极致化所呈现出的拟狂欢化之态。 当代喜剧自九十年代出现了上述具体的精神变奏和美学变奏，它们也共同构成了当代喜剧的总体图景。在这幅图景之中，我们看到喜剧的理性超越和感性经验逐渐走向分裂，喜剧的游戏精神与狂欢精神展现着不同层次的形态变异，悲喜交融和悲喜混杂的复杂情调使“悲”与“喜”的界限逐渐模糊。

Since the 1990s, Chinese comedy has attracted our attention with its rapid momentum, diversified style, now form and spirit. In the context of the comedy era, it is necessary to conduct an overall study of dramatic comedy, an art form that fully reflects the spirit of contemporary comedy. It is a window for us to observe the changes of Chinese comedy, and it is also an iconic signal lamp for us to explore the changes of Chinese contemporary spirit. Compared with the complexity and richness of the phenomenon of comedy creation, the study of comedy is still in the more general and point-like stages. This article is based on the Chinese contemporary comedy since the 1990s. It tries to make an overall study of the changes in Chinese comedy during the past three decades. 1990 was the beginning of the secular age and the end of enlightenment age. From this demarcation point, the secular culture of the Chinese society gradually emerged and developed. In this situation, the folk tradition of comedy emerged quickly. Folk traditions and literary traditions of comedy have undergone fierce collision and reorganization since the 1990s, and gradually formed a multi-layered comedy space. At the same time, the inner spirit and external form of comedy are sensitively influenced by the overall changes in the contemporary social and cultural environment. These drastic adjustments make the comedy show the characteristics of introversion and pseudo-carnivalization in general. They evolved different representations in different types of comedies. The traditional satirical comedy has a melancholy, playful and lyrical aesthetic variation. The irony is not only floating in the panorama of social problems, but also expressing the dissatisfaction with the power and public opinion classes. With the help of classic degradation, historical fables, language games, and the narration of madman, satire expresses its limited social reflection and resistance with a evasive stance. The absurd comedy is a new form of comedy that began to grow in the 1980s and matured in the 1990s. It is most suitable for the expression of contemporary comedy experience in form and connotation. This type of comedy not only penetrates into the depths of the contemporary people's spirit, but also emerges from it, discovering the paradox, differences and mobility that must exist in people’s living conditions as observers, and use grotesque techniques to create a modern fable to reveal the above findings. Modern humor comedies have recently triggered people's recollection, reflecting the lack of contemporary humor comedy. A small number of humor comedies write ordinary people's worldly life, restored the daily language method, expressed the comedic conflicts in ordinary life with realistic techniques, and displayed different degrees of good-natured dramas to satisfy the public's viewing interest--Showing a secular appearance. Humor comedy pay its attention to the internal conflicts, trying to show the unease and division of the inner world of contemporary people, with sentimental, ideal and moral and ethical way. This shows the characteristics of its introversion. Burlesque comedy is the most numerous and most criticized type in contemporary comedy. However, this article will continue to face the emergence and prosperity of burlesque comedy from the context of history. Then I analyze how the burlesque comedy present the problem of the times and strike a compromise with the traditional narrative, and its fantasy and hedonistic aesthetics. The above-mentioned specific spiritual variations and aesthetic variations have appeared in contemporary comedies since the 1990s, and they together constitute an overall picture of contemporary comedy. In this picture, we see that the rational surpassing and emotional experience of comedy gradually breaks apart, the play spirit and the carnival spirit of comedy show different levels of morphological variation, and the boundary with tragedy and comedy is gradually blurred.