文汇报1990年3月26日一版刊登的专访《侯宝林谈当前相声艺术创作与表演》,是我一朝写成的。实际上,对相声创作、表演是否应坚持“语言艺术”之根本的思考,在十多年前看到有人挎着电吉它上舞台便开始了。当时,我为此感到不安。以后,一直关注相声艺术发展进程中几个阶段的表现,以及群众对它的反映。实践证明,一些好作品的创作演出是遵循相声传统的,而那些令人反感的,必是偏离了“语言艺术”的轨道。近些年,由于受金钱大潮的冲击,一些人急功近利,相声界表现出敬业精神的倒退,节目质量明显下降。这其中当然也有节假日电视晚会对相声节目需要量过大的原因,致使一些创作仓促 Wen Wei Po March 26, 1990 edition published an interview with “Hou Baolin talk about the current crosstalk art creation and performance”, which I wrote once. In fact, whether comic creation and performance should stick to the fundamental thinking of “language arts” started more than a decade ago when someone saw an electric guitar on the stage. At that time, I felt uneasy. Since then, he has been paying attention to the performance of several stages in the process of comic art development and its reflection on the masses. Practice has proved that some good works of creative performance is to follow the tradition of crosstalk, and those offensive, will be deviated from the “language art” track. In recent years, due to the impact of the monetary tide, some people are quick success and the comic industry shows a degenerate spirit of dedication and the quality of programs has obviously dropped. Of course, there are holiday television shows on crosstalk too much demand, resulting in some creative rush