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　　《技能五子棋》是由张兴朝、翟小明、李嘉诚等编剧，喜人小队“外星从”（张兴朝、李嘉诚）主演的喜剧小品，于2025年9月26日在腾讯视频《喜人奇妙夜第二季》首播。先给不了解这个梗的朋友科普一下，什么是技能五子棋，所谓的技能五子棋就是在普通五子棋的基础上加上技能，那么什么是技能呢?

　　比如说空调开一晚上只要一度电就是节能，而第三次能源危机的罪魁祸首实际上也正是空调开了不关，毕竟关了灯的话蟑螂就找不到了，了解了五子棋之后才能够做到真正的节能，因为它只要一根笔两张纸，一张用来记录五子棋，另一张用来记录朕的丰功伟绩。

　　《技能五子棋》这个小品的画风大概就是上述的样子，你永远不知道他下一句要说什么，很多人将《技能五子棋》比作是小品香菜，喜欢的喜欢的要命，不喜欢的只觉得侮辱智商，这个比喻是站在观众接受的角度来说的，但是，如果我们从作品本身的角度来看，这个比喻也能够读出新意，香菜从来不会是主角，除非是在火锅当中，关于这个解读，我们留到后面再解释是什么意思。

　　《技能五子棋》的整体架构非常简单，基本没有故事，而是将故事的重心放在了戏仿与反讽上，准确地说，是寄生在别的故事或者程式上，进行反直觉处理。这类小品与传统的强叙事小品（比如《再见老张》）不同，它并不试图制造一个叙事幻境，让观众沉溺其中，相反，它会偶尔提醒观众，现在你正在看小品。

　　其具体的体现就是小品中存在的两种声音，一种是全局的，一种是局部的，二者的区别是，前者会使得观众从叙事环节中坠落，这也就是我们所说的”出戏“。小品中最典型的”出戏“莫过于演员刻意通过漫画化表演让人出戏，然后再用吐槽拉回原本的叙事节奏中。

　　于是，观众被另一种方式邀请到小品当中参与创作小品，不再只是故事的接收者，同时也是故事的创作者，这个过程不再是与剧情共鸣，而是与编剧博弈，理想预期正是这个过程中的核心要素，它也是观众与编剧在不断争夺的东西。

　　读到这里，可能有的读者会觉得这有点像布莱希特了，但值得注意的是，这里不应该用布莱希特的间离理论来解释，在《技能五子棋》当中，观众从叙事幻境当中抽身而出，却并没有像布莱希特所期望的那样获得整体化的思维与革命性的视野转换，而是转身投入另一个程式，这一点是应当要注意的，不过，如果本来就没有想到布莱希特的话，这一段没有看明白也没有关系。

　　随着故事的进展，观众的观看方式也早已如他们所要求的一样，不再按照传统的方式去预测后续的剧情发展，而是将重心移位到无厘头的表演与对话中，观众的注意力被零散化，不需要整体的印象与感知，而是聚焦于片段的此刻，接下来会立刻发生什么以及这种发生是否合乎预期，成了关注的中心。

　　现在，我们可以回答前文所提到的”香菜从来不会是主角，除非是在火锅当中“，这个解读的含义了，香菜指的是《技能五子棋》的纯解构模式，它不试图去创造任何稳固的意义，就和香菜一样，很难成为独挑大梁的主菜，它总是要依附于一定的故事当中，在过去，解构只有以这种方式才能够被大众所接受。

　　但是，这种过去的规范在今天已经全然失效，香菜已经处于火锅当中，有资格被当作是一道主菜，这里所说的火锅，指涉的其实正是如今的注意力经济的时代，所有的东西都在试图切断人的思考，将其注意力死死钉在某处，注意力经济最近的例证应该就是双十一了，现在要打开淘宝的话，最快的方式是随便打开一个app。

　　正是由于如今的时代所以才有了《技能五子棋》这样的作品，目不暇接是如今时代的关键词，我们没有时间听完苏联笑话或者是奥德赛，我们要背负着救世的使命将每一个间歇填满，我们在今天时而被解散，时而被聚集，直到所有的注意力被攫取之后才得以被放过，当然，这同时也意味着不再有价值。

　　当然，以上的解读是从观看方式的角度来对《技能五子棋》进行重构的，如果是将其视作一部小品来说的话，我只能给到他一个及格的分数，原因是他什么也没说，尽管他也没打算说，但，说点什么总胜过什么也不说（《父亲的葬礼》在这方面要强很多）。