Can someone help me find a video of the comedy "For and Against"! It's not Yang Zhi Chun Zhou Satellite's comedy!

The word "xiangsheng" was originally used to refer to the imitation of other people's speech and behavior, and later developed into the elephant voice. Xiangsheng is also known as the elephant voice next door. Xiangsheng originated in the North China folk singing and performing arts, and was popular in the Ming Dynasty. After the development of the Qing Dynasty until the early years of the Republic of China, Xiangsheng gradually developed from a person copying ventriloquism into a one-word joke, and the name was changed to Xiangsheng. One type of monologue was gradually developed into many types of monologue, counterpoint and group comedy, which were synthesized into a veritable comic opera, and over the years, counterpoint eventually became the most popular form of comic opera.

Zhang Zhanglu is the earliest recorded comedian. According to records and speculation, Zhang Sanlu was originally an octagonal drum clown in Beijing, and later switched to comic opera. His artistic career began during the Daoguang period of the Qing Dynasty. It is said in the book of the children of "Sui Yuan Le": "Learning comedy is like returning Zhang Sanlu to his soul, and the copper mule Yu Sansheng to as if he were alive." But generally speaking, the comedy world calls Zhu Shaowen (Poor Fearless) their grandmaster.

During the Sino-Japanese War, some comedians showed nationalism. Chang Bao Koon was arrested twice for satirizing the Japanese government, and Zhang Shoushen publicly praised the anti-Japanese efforts of Ji Hongchang and others, criticized the authorities for their policy of non-resistance, and got into trouble for satirizing the police in Tianjin at the time as "cheap".

Development in mainland China

After 1949, a large number of actors who had been performing comedy since before the founding of the Chinese Communist Party, represented by Hou Baolin, gradually transformed their comedy by remodeling it, removing a large number of erotic and sarcastic passages about other people's physical defects. The rapid popularization of comedy became a national and universal form of song and art. One of the reasons for the popularity of comedy was that it was a sound-based art that lent itself to the popularization of radio broadcasting as the main medium. It has been called the "cavalry on the battlefield of literature and art".

In addition to the reorganization of traditional comedy, there were many satirical comedies in the early days, which satirized the "old society" or those who were backward in their thinking in the new era. However, due to the policies of the ****production party, some people realized the need for comics that glorified socialism. 1958, during the period of the general line, a number of comics that glorified socialism began to appear in large quantities. During this period, Ma Ji and others were the representative figures.

Nevertheless, during the Cultural Revolution, many comedians were suppressed, and for a time, comedy became extinct in mainland China, with only a few glorified comedians able to perform during the Cultural Revolution.

After the Cultural Revolution, comedy quickly gained popularity. Jiang Kun and Li Wenhua's "So Photographic" and Chang Baohua and Chang Guitian's "Hat Factory" represented a large number of satirical "Gang of Four" comedies that quickly became popular. The comedy of Hou Baolin and others was also re-broadcast on the radio.

Into the 1980s, under the impact of the increasingly popular form of comedy sketches, the simple form of comedy is no longer favored by the audience of television as the main medium of communication. Some new forms of comedy were developed, such as pop-singing comedy and comedy theater, but the market remained small (at the same time, a great deal of the elements of comedy were absorbed into the sketches). Nonetheless, during this period of time, comedy has developed considerably: a new generation of performers has emerged, and a variety of new comedy pieces in terms of content and form have continued to appear on stage, creating a "contemporary comedy" that is different from the previous one. There are many examples of popular comedies, both of the entertainment type and of those that criticize the current situation. During this period, comedy was still the mainstay of public entertainment in all sorts of literary and artistic occasions.

Starting in the mid-to-late 1990s, comedy began to decline, with fewer and fewer new segments, fewer and fewer popular ones, and the content of satire on current affairs becoming increasingly rare, and the old-fashioned, purely entertaining style of comedy began to gradually take over the absolute mainstream position. At the same time, many famous actors and actresses left the stage to do other jobs, but not many newcomers were able to take over. The status of the comedy is gradually replaced by the prosperity of the sketches.

At the beginning of the 21st century, comedy was in a state of decline in mainland China: the older generation of artists had fallen off the map, and the actors who had been popular in the 1980s were not able to keep up with the development of comedy; and in the National Comedy Competition, which was organized in order to revitalize the comedy, the new generation was never seen to be thriving. (China Central Television (CCTV) organized four National Comedy Competitions on New Year's Day in 2002, New Year's Day in 2003, National Day in 2006, and during the Golden Week on May 1, 2008, respectively. While the first and second contests were well received by the audience, the third and fourth contests were said to be "not a comedy contest with no comedy in sight". The closing ceremony of the third contest featured Ma Ji's last public comedy performance, "Learning Comedy", which he performed with hosts Zhou Tao and Bi Fujian.) The future of comedy is not viewed favorably by most, but outside of the media, many comedy troupes that perform in the traditional manner have retained a certain level of sophistication and a sizable audience. In many small theaters and teahouses in Tianjin, you can hear some pretty good traditional comedy. The sudden popularity of Guo Degang, who also used to perform in the traditional style in teahouses, after 2005, although different from real teahouse comedy, has brought some recognition of tradition to the audience.

Development in Taiwan

In 1949, the Kuomintang government retreated to Taiwan, and a group of comedians arrived. In that year, Wei Longhao (Wei Su) and Wu Zhaonan befriended each other and hosted comedy programs together on radio stations such as China Broadcasting Corporation and Police Radio. In 1967, they started to collect and produce 'Comedy Collection', 'Comedy Selection', 'Comedy Catch' and 'Comedy Gleaner'.

Initially, the company was a member of the Chinese Communist Party.

In the beginning, the main audience of the comedy was the foreigners mainly from the family villages. In recent years, it has become a sensation after a stage play, 'That Night We Talked About Comedy' (starring Li Liqun and Li Guoxiu), was released by the Performance Workshop in 1985.

Then, in 1989, "Table Workshop" released "Who's going to do the comedy this night? (starring Li Liqun, Jin Shijie, and Chen Lihua), "Taiwan's Strange Tales" (Li Liqun's stand-up comedy) in 1991, "The Night We Spoke Comic Relief" (re-interpreted by Li Liqun and Feng Yizang) in 1993, "The Night They Spoke Comic Relief" (starring Feng Yizang, Zhao Ziqiang, and Bu Xueliang) in 1997, and "The Night of the Millennium We Spoke Comic Relief" (starring Zhao Ziqiang, Jin Shijie, and Bu Xueliang) in 2000. (starring Zhao Ziqiang, Jin Shijie and Ni Minran). Finally, in 2005, it released This Night, Women Speak Comic Relief (triple starring Fang Fang, Deng Chenghui and Xiao Ai).

In April 1988, Feng Yizang and Song Shaoqing formed the Comic Wash (later joined by Huang Shiwei), which started the creative performance of stage plays fusing the art of comedy. On July 8, 2004, the group launched its first production 'Give Me a Tape', aided by the 'Can Act Theatre Company'.

In 1993, the Taipei Opera Troupe was established, and in addition to comedy, it also introduced many unique Chinese rap arts, such as double reeds, counting to the moon, quick books, Jingyun drums, plum blossom drums, Heshi drums, and single strings, and so on.