天津是“市井文化”的代表,是中国相声艺术的重镇。作家冯骥才受天津地域文化的影响,在其短篇小说集《俗世奇人》中对相声形式进行了大量的化用。这主要表现在幽默、嘲讽、富有节奏感的相声语言,“捧哏”、“逗哏”的情节模式和“抖包袱”式的结尾三个方面。语言、情节与结局这三个方面对相声形式的借用促成了《俗世奇人》的新变。这种“旧瓶装老酒”的创作方式不仅没有产生牵强、陈旧之感,反而为艺术与文学之间沟通了一座桥梁。 Tianjin is the representative of “City Culture” and the center of China Crosstalk art. Writer Feng Jicai was influenced by the local culture in Tianjin, and made a great deal of use of the comic dialogue in his collection of short stories. This is mainly manifested in three aspects of humor, ridicule, rhythmic comic dialogue language, “plots”, “plots” plot mode and “shaking burden” type of the end. The borrowing of the cross-talk forms from the three aspects of language, plot and ending contributed to the new change of “secular”. This “old bottled wine” not only did not create a far-fetched, old-fashioned feeling of creation, but instead communicated a bridge between art and literature.