任何艺术都要讲究节奏,寻求变化。清代林嗣环撰写的文章《口技》中“口技者”表演的口技之所以产生那样强烈的艺术震撼力和感染力,是与表演者恰如其分地演绎口技的节奏变化分不开的。总览全文,《口技》的行文结构与刘成章先生的《安塞腰鼓》有异曲同工之妙,两篇文章的开篇和收尾都有相类似的静态场景描绘。先看两段文字:京中有善口技者。会宾客大宴,于厅事之东北角,施八尺屏障,口技人坐屏障中,一桌、一椅、一扇、一抚尺而已。众 Any art must pay attention to the rhythm and seek change. The reason why portraits of “mouth mechanics” performed by Lin Sihuan in the Qing Dynasty was so powerful in art power and contagious power was inseparable from the improper performance of the performer’s rhythm. To sum up the full text, the compositional structure of “Oral Skills” is similar to that of “Ansai Waist Drum” by Mr. Liu Chengzhang. Both articles have a similar static scene description at the beginning and the end. Look at two paragraphs: There are good mouth technicians in Beijing. Banquet feast, in the office of the northeast corner, Shi Bazi barrier, mouth mechanic sit barrier, a table, a chair, a, a ruler only. Public