How to treat the factional struggle of traditional arts such as Beijing Opera, Crosstalk and Allegro?

Crosstalk is different from Beijing Opera and Allegro. Both Beijing Opera and Allegro are standardized arts, and the evaluation criteria are relatively fixed. Works that meet the audience's aesthetic expectations will be considered of better quality. However, crosstalk is not, and its performance form determines that there is an empirical part in its evaluation system. Because it is the art of "laughing", programs that meet the audience's expectations become inferior programs-because if the audience guesses, it is not coke! In this way, the evaluation standard of crosstalk is not as fixed as that of Beijing Opera and Allegro, and it requires higher artistic innovation. Allegro, actors can say "X School" and "X Family" from the beginning of the performance. The apprentice is exactly like the master, so he is right and performs well. Beijing opera can be clearly distinguished from "X School" and "X Family" in singing, lyrics, manners and even manners. The apprentice is exactly the same as the master, so he has performed correctly and well. But there is only crosstalk, which is very different from the previous two. How many seniors can see from the performance that this actor is from "X School" and "X Family"? Moreover, because crosstalk performance needs to "violate" the expectations of the audience, excessive imitation, similarity and similarity will only make the audience's evaluation gradually decline. At first, I saw a novelty, saying that learning to sing takes up learning, which is good and good, and then if there is no new bright spot, the evaluation will be lower and lower.