Brief introduction of language gap

Tongue dropping is one of the traditional forms of Japanese Quyi. Didi originated in the Edo period more than 300 years ago, and it is similar to the traditional stand-up crosstalk in China in both form and content. It is said that many jokes with missing characters have deep roots with China, and some of them are directly taken from "Hide the Knife in the Laughter" edited by Feng Menglong, a writer in China in the late Ming Dynasty. Later, influenced by unofficial history in the Palace, Strange Tales from a Lonely Studio and other literary works, it has become what it is today through continuous development. A small theater that mainly performs words is called "sending seats". Generally speaking, the performance venue is not large. On the small stage in front of the theater, there is a small cushion on which the Chinese teacher kneels to perform. Although the language teacher always wears a very formal kimono when performing, she speaks authentic folk vernacular. If it is different from China's stand-up comedy, it may be more like a one-man show or a one-man show, because besides lip service, it pays more attention to expressing life with funny expressions and exaggerated actions. In order to make the performance more brilliant, many artists will take out folding fans and handkerchiefs as props.

The content of the performance is mostly the short stories of parents in ordinary people's daily life. If you can often listen to drop-offs, you will understand the customs of Japan. Dropouts in Japan are all passed on by word of mouth through mentoring. Usually, people who drop out of school can grow into dropouts after ten years of hard study. Apprentices will sign contracts with performance companies after they start, and then make a living by performing. The income of the most junior performer for performing 15 minute speech is about 450 yen (after tax). Although "Didi Hua" and "Talking about Talented Talents" are the occupations of funny artists, they are mainly performed in theaters, with limited audience, low ticket prices and low income. This form of entertainment has been "carried forward" in Japan, earning a lot of money, mainly relying on the development of television.

As a funny form, China people may not understand it very well. There are many forms of expression, such as complaining and yelling, which seems to be just venting emotions. But Japan is a high-pressure society. Since there is such a performance, there is naturally a market. Maybe only people who have worked and lived there can understand. The prototype of "funny" entertainment is "tongue-dropping" and "boundless talent", which is similar to China's cross talk art, and "tongue-dropping" is a solo performance, which tells stories through words and actions and conveys certain life truths. Many classic jokes handed down from the Edo era are still repeated in small theaters in a "thousand-handed" area like Asakusa. "Mancai" is a two-person performance. Performers put on their own special costumes (some "Mancai" performers' costumes are quite exaggerated), joking with each other, and sometimes even accompanied by very intense physical movements.

Every summer in July, the annual "Big Sound Language Festival" (similar to our Crosstalk Festival) is held in Ginza Avenue, the most prosperous street in Japan. Japanese people who love to drop words shake their light wheel fans and get together to entertain themselves. Classic jokes include buckwheat noodles, zoos, saury or black eyes and so on.

The 75th anniversary commemorative work of Luo Yu Art Association, the oldest large-scale organization among mass performance associations, was launched on June 6th, 2006, and was adapted into an animated film. In addition, the Japanese drama Tiger and Dragon, played by Tomoya Nagase and Okada Junichi, also shows this word.