Shanghai burlesque you like to see?

We like to watch Shanghai burlesque, burlesque is in the late Qing Dynasty to the mid-Japanese War, by the Shanghai opera, "Duojiao Opera" accepted the influence of Chinese and foreign comedy, farce and local opera in the south of the Jiangnan and gradually formed a new type of opera. It is popular in many areas of Shanghai, Jiangsu and Zhejiang. Its traditional repertoire has preserved the folklore of Shanghai and the unique secularism of the "Ten Mile Ocean Farm", and its creative method is very characteristic of the Haiku school. It is one of the national intangible cultural heritages. Shanghai Comic Opera was born in the late Qing Dynasty. Comic opera stood out from the "new plays" (later called civilized plays) performed by students and intellectuals returning from overseas in Shanghai at the end of the Qing Dynasty; it took the new plays as the carrier, and on the one hand, it took the excellent comedies of Chinese traditional operas and foreign comedies as the examples to perform "comic operas" and "comic plays". On the one hand, it uses the excellent comedies of traditional Chinese operas and foreign comedies as examples to perform "funny dramas", "funny new dramas", "funny comedies", "funny dramas", while on the other hand, it makes "funny interludes" in the main plays of many new dramas. "In 1914, the Enlightened New Drama Society of the Yifeng Society and Ren Tianzhi staged the first burlesque in Shanghai, Who Died First, which was the representative play of the time. The play skillfully incorporated dramatic conflicts, and contrasted comedic elements such as misunderstandings and follies with the narrative structure of the new drama, creating a precedent for the performance style of burlesque. The play is also often cited as the first of its kind in the world of burlesque. Later generations often applied the comical formula of this play to other comedies, and after the 1930s, Shanghai comedy gained great development. During this period, three great comedians were born: the "veteran comedians" Wang Wengneng and Qian Wuliang, the "social comedians" Jiang Xiaoxiao and Bao Lele, and the "trendy comedians" Liu Chunshan and Sheng Dudu, who competed with each other to show their skills and performances. The 1930s and 40s were the heyday of comedy, with more than a hundred performers in Shanghai's major amusement parks, radio broadcasts and halls of fame. The first generation of comedians also included Ding Weird, Shin Happy, He Shuangdui, Bao Lele, Zhao Xixi, Zhang Ye'er, Yi Fangshuo, Lu Qiqi, Hou Yiming, Lu Xiaowu, Yu Doudou, Ren Mimi, Jin Huisheng, Pei Yanghua, Tang Yingying, Hu Haidi, Zhongxin Xiaoxiao, Lu Xixi, Hu Qiqi, etc. The second generation of comedians that succeeded the first generation of comedians included Zhu Xiangfei, Cheng Xiaoting, Fan Haha, Laughing, Laughing, Yao Mushuang, Zhou Bachun, Yuan Yiling, Yang Walsheng, Wen Binbin, and Zhu Xiaofeng, who were the most popular performers in Shanghai, Yang Huasheng, Wen Binbin, Tian Lili, Deng Xiaoling, Zhang Drunken Earth, Zhang Duller, Yang Liucun, Big Doll, Gong Yifei, Wang Xiaoneng, etc., many of whom were also famous performers in later comics. At the end of 1941, when the Pacific War broke out and the Japanese army occupied the rented area, the business of the amusement parks in Shanghai was in the doldrums, the business of the halls was slow, the radio stations were blocked by the enemy and the hypocrites, and it was difficult for one-legged actors to earn a living, and so there appeared large-scale comical plays and comical play troupes in which one-legged actors united to perform; at the beginning of 1942, Jiang Xiaoxiao initiated and organized Yang Tianxiao, Zhao Baoshan, and Zhongxinxiaoxiao, etc., adopting the civilized system of the play, and bringing into play the comical performance methods, and performed the first story-telling comical play. In early 1942, Jiang Xiaoxiao initiated and organized Yang Tianxiao, Zhao Baoshan, Zhong Xinxiao and others to adopt the system of civilized opera and play a comical performance style, and performed the first major opera with a storyline and characters, "A Bowl of Rice", which satirized the hoarder of a rice store and sympathized with the poorly clothed lower-class people, arousing widespread ****soundings from the public, and became quite popular, and is considered to be the first play that changed from one-legged opera to burlesque opera. At the same time, Jiang Xiaoxiao, Bao Lele and other organizations set up the first burlesque troupe "Xiaoxiao Troupe", initially performed plays such as "Blind Man Borrowing an Umbrella", "Haunted Minglun Hall", "Ridiculous", "Colorful" and so on, and then other one-legged opera artists and some of the civilized opera performers also organized burlesque troupes to the end of the 1940s in Shanghai alone, which was the first one-legged opera troupe to be established in Shanghai. At the end of 1940s, there were more than 40 professional burlesque troupes in Shanghai alone. Since then, although the opera monodrama still exists, the theater burlesque was born, and many actors and actresses are monodrama and burlesque all in one. 1949 after this period of burlesque, staged a lot of works celebrating the new era and exposing the old society, which is closely related to the whole political climate in the beginning of the 1950s. The burlesque artists and troupes were subjected to ideological reforms, and their professional environment and artistic cultivation rose to a new height; they were positive and upwardly mobile, and with gratitude, they created and staged a number of burlesque operas in line with the political movement of the time. After the 1980s, the stage of literature and art rejuvenated, a number of burlesque troupes have been restored or rebuilt. 1981 Shanghai held the first theater festival, Shanghai **** five large-scale burlesque to participate in the performance, which had a wide range of impact. The creation, performance and theoretical discussion of burlesque have been highly valued and concerned by the society and academia. The new generation of burlesque and today's burlesque stalwarts have mostly emerged from the hammering of one-act plays, and have been rapidly familiarized by the audience. After entering the 21st century, burlesque themes have shown diversity, including the transplantation of foreign comedy classics, Twelfth Night, the restoration of the inherited dialect drama masterpieces, Cries and Laughs, and the integration of fashionable elements, such as the Model House of Love, and so on, and the strength of the practice is further expanding. We hope you will also enjoy the art of Shanghai burlesque!