Crosstalk and China traditional opera are ancient arts. Why do people now prefer cross talk?

Many people, especially young people, prefer comedy sketches to opera for many reasons.

The reason why China's traditional operas are not as popular as crosstalk and sketches is that crosstalk sketches are close to reality, ironic and humorous, and enjoyable to listen to; The pace of people's life is accelerating, and there is not much time to watch lengthy operas; The media is keen to spread short and pithy comic dialogue sketch programs, and the dramas take up too much network resources and are ignored. Even if Wei chuan plays, there are no fragments of the plot, which makes people feel boring after listening to it too much.

In addition, the development of traditional Chinese opera was hindered, especially in the 1990s, when state-run traditional Chinese opera groups were basically paralyzed, and the troupe was weaned, so there was no necessary financial support. Some backbone operas were diverted, some went into business, and some troupes simply closed down and dissolved.

As a result, the choreographers and directors are weak from generation to generation, lacking new drama purpose, which seriously blows and dampens the development of traditional Chinese opera. There is no good drama program, which is also the reason why drama is not as popular as cross talk and sketch.

There is an old saying: "You can never get tired of reading books and listening to operas." If you understand this sentence, you should understand why people prefer cross talk to opera. Going to the opera has a very important premise, that is, he must know the background of the story, otherwise he will just watch the fun. However, crosstalk, a folk art, is wrong. The fresher such a program is, the more interested the audience is.

In the past, singing opera was all about singing a series, and the actors performed a complete story on the stage. But not anymore. Now it's a folding drama, and the actors are singing with highlights. For the old audience, the impact is not great, because they are familiar with the story background; But for new audiences, it is difficult to get into the story, and they often don't know what it means.

This has caused very serious consequences. Unless there is a strong interest in Chinese opera, few people are willing to go to the theatre, so the market is getting smaller and smaller with the development of the times.

The audience doesn't like watching, and the actors naturally don't like to work hard to arrange new plays. This is tantamount to forming a vicious circle, and gradually opera has become a cultural heritage that needs to be protected. Crosstalk once encountered the same dilemma as opera. At that time, crosstalk was mostly wonderful fragments. The greatest artists recorded a crosstalk 12~ 15 minutes, so even the best crosstalk was castrated to meet the requirements of the program.

Later, there was a cross talk in the small theater. In the small theater, the cross talk lasted at least 30 minutes. If the actor is excited, he can play for 50~60 minutes, which greatly improves the excitement of the audience. Slowly, crosstalk began to be accepted by more people.

Therefore, if opera wants to please its own difficulties, it must find problems from itself, instead of begging for policy support as in the past. It is better to teach people to fish than to teach people to fish, and the same is true from another angle. It is better to accept fish than to accept fish.