Which one of you is more knowledgeable about comedy, can you tell me how many categories comedy can be divided into, and explain who came up with this categorization.

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Categorization of comedy

Comedy can be categorized according to the number of actors:

Liu Bao-rui (1915-1968) performed one-liners

●One-liners, performed by a single actor. ●Long monologue, usually divided into several performances, similar to a commentary, but with more emphasis on the laughs.　● Counterpart comedy, with two actors

Jiang Kun and Li Wenhua perform counterpart comedy

, with one actor holding and one teasing (male-female comedy, a type of counterpart comedy) ● Group comedy, with three or more actors Classified according to the function of the content, it can be classified as follows:

Yang Zhenhua and Jin Bing-Chang perform the comedy False and Big Empty

● Satirical type of comedy: It can be satirize oneself or others, such as Hou Baolin's "Night Journey" (a satire on people who do not follow traffic rules) and Jiang Kun's "Such a Photograph" (a satire on social phenomena during the Cultural Revolution period) ● Glorious comedy: mainly in mainland China, usually

Hou Yaowen and Shi Fuquan perform the comedy "Beijing and Kowloon Evolution"

often to match the government's guidelines and policies. For example, Ma Ji's New (glorifying the new face of the socialist countryside), and Hou Yaowen's (glorifying the builders of the Beijing-Kowloon Railway).　● Entertainment-type comedy: "Speaking in Dialect", "Love Songs" and the like.　The following can be categorized according to the era of the writings: ●Traditional comedy: the period of the late Qing Dynasty and the early Republic of China ●New comedy: after 1949 ●Contemporary comedy: after the late 1980s

Zhang Wenze, Ding Zhou, and Zhang Songyang perform "Picking the Horse Coat"

Editorial comedy schools

Comedians

I. The Hou (BaoLin) School of Comic Strips See also: Xue BaoKun: "On the "Hou (Hou Baolin) school of comedy See: Xue Baokun: On the spirit of the "Ma" school of comedy Wu Wenke: Hou Baolin and Ma Sanli comedy art of comparison Third, Chang (Bao Koon) school of comedy See: Chang Baohua: Memories of my elder brother Chang Bao Koon Fourth, Su (Wenwen) school of comedy See: Chang Baohua: Memories of my older brother Chang Bao Koon For more information, please refer to: Su Dexin: "The Unforgettable Su Batch of "Three Kingdoms"" V. Ma Ji's School of Comic Strip

Coup-liang

I. Li Wenhua's School of Comic Strip See: Jiang Kun: "Li Wenhua Talks about Cupping the Comic Strip". Zhao (Shizhong) school of comedy See: Lao She: "Healthy Laughter" Editorial Section Artistic Characteristics

The Four Basic Skills

Speaking, learning, teasing, and singing are the four basic skills of a comedian.　●Speaking: storytelling, and the way of speaking and padding.　●Learning: imitating various characters, dialects, and other voices, learning to sing famous pieces of opera, and in modern times also learning to sing and dance.　● tease: to create laughter.　Singing: Often thought of as singing opera, singing. In fact, "singing" refers to singing "Taiping lyrics", which is the original function of comedy.　Traditionally, comedians have subdivided the basic skills of comedy into thirteen disciplines, which are as follows: ● asking for money ● ventriloquism ● counting the money

Comedy

●Tai Ping Lyrics ● Baishasazi (白沙撒字)●Single-mouth-comedy ●逗哏 ● 捧哏 ● Qunkou (群口)●相声怯口/倒口 ● Liu Liu (柳活) ● Guankou (贯口) ●Opening Chorao (開场小唱)

Terminology

●逗哏: "comic" means funny, amusing and funny, and is often regarded as a term of art. " refers to funny, amusing words or expressions. ● comic: "comic" refers to funny, amusing words or expressions. To make a comic effect is to make people laugh, and it refers to the actor who is responsible for making a comic ● comic: the actor who narrates the storyline with the "comic" during the performance.　●Wraps: Laughing material in comedy ●Liu work: Comedy based on learning to sing (drama) ●Leg work: In a comedy performance, the actor, in order to perform a drama, puts on a little make-up, divides the bag to catch the corner, enters the role to perform, and then has to withdraw to narrate the story.　●Concordance (live): A large section of coherent and rhythmic lines, typified by the "Big Bodyguard" and the "Article Club", with the saying in the comedy industry that "the literature is afraid of the "Article Club", and the martial arts is afraid of the "Big Bodyguard"".　●Fear of mouth work (怯口活)：Performed in dialect or foreign languages, e.g. Tofu Tanghui (豆腐堂会), Shanxi Jiaxin (山西家信).　●Present Hanging (砸挂，抓哏)：Catch the subject matter on the spot to cause laughter

Commonly used props

●Waking Wood: from the commentary, often used in long monologues as well.　●Folding fan: can be virtualized into other items during the performance: swords, guns, sticks and clubs ("The Great Bodyguard"), pens ("Yang Naiwu Writes a Letter"), drumsticks ("Spitting Lotus Flower"), etc.　● Handkerchiefs: can be used as props in make-up, e.g. "Learning the Four Provinces", "Wu Sung Fighting the Tiger", "Catching and Releasing Cao" ● Tables, commonly used props in traditional comic dialogues. When performing comic dialogues, the comedian stands outside the table and the comic stands inside the table. The table is used to distinguish between the front and back stage and the upper and lower stage doors when performing liuwu.　●Yuzi: The musical instrument that accompanies the singing of Taiping lyrics, usually two bamboo boards.

There were initially two types of performance styles for xiangsheng, the one performed in the curtain was called "dark spring", and the one performed in public was called "bright spring". To the Qing Xuantong three years (1911) after only "Ming Chun" a continued to develop. The form of comedy **** divided into three kinds of monologue, duologue, group comedy. A monologue is a short or long joke performed by a single actor. Counterpart comedy, is performed by two actors, the narrator A called "joke", auxiliary dialogues B called "joke", the performance, according to the A and B two people said the table of contents of the weight and different language styles, can be divided into "a head of heavy When performing, depending on the weight of the content and language style of A and B, they can be categorized into three types of comedy: "head heavy", "son and mother comedy", and "slamming live". Group comic, is more than three actors *** with the performance of the A said "joke", B said "funny", C and so on called "putty seam".　A comic generally consists of "pad words" - improvisation of the opening; "scoop handle" - into the body of the transitional introduction; "pad words" - improvisation of the opening; "scoop handle" - into the body of the transitional introduction; "pad words" - improvisation of the opening Transitional introduction; "work" - the text; "bottom" - the climax after the end of the four parts of the composition. The After the founding of the People's Republic of China, new comedies often omit the "scoop handle". Comedy with artistic techniques to form "baggage", the performance by saying the table and "shake" to make people laugh. There are dozens of ways to do it: three times (flip) four shaking, first praise and then degrade, wrong and wrong, double entendre, self-contradiction, inconsistency, distorted interpretation, violation of the norms and so on. Each segment of the comedy generally contains more than four or five funny and humorous "baggage". Editorial section of the comic art of talking, learning and singing

Speaking

The four techniques include talking, criticizing, reading and telling. Speaking refers to reciting poems, pairing couplets, guessing riddles, interpreting the meaning of words, tongue-twisters, anyway, inverted words, hiatus, jokes, short jokes, anecdotes, etc. The main repertoire is "Boiling Persimmons", which was written in the late 19th century, and is a popular comic opera. The repertoire mainly includes Boiled Persimmons, Five Star House, Temple of Heavenly Kings and so on. The repertoire mainly includes "Criticizing Business", "Crooked Criticism of the Three Kingdoms", "Criticism of Liaozhai" and so on. Nian, refers to "GuanKou", the repertoire mainly includes "Menu Zi", "Geography Map", "Foreign Medicine Prescription" and so on. The main repertoire of speaking includes "Speaking of the Emperor's Number" and one-liners such as "Solving the Bachelor's Degree" and "Wax Cuttings," among others.　

Comic masters Yang Zhenhua and Jin Bingchang

Learn

Various kinds of ventriloquism, double reeds, copying dialects, market sounds, as well as the voices of men, women, and children, and customs and manners. The repertoire mainly consists of Learning Four Provinces, Learning Four Phases and Rule Set. Mimicking dialects, also called "inverted mouth", used to be called "timid mouth", is to show the stupidity and honesty of the characters. Initially, most of them imitated the dialects of Shen (Ze), Wu (Qiang), Rao (Yang) and An (Guo) in Hebei Province. At that time, some Beijingers sneered at those who came from these places to work in Beijing as "timid", falsely labeling them as "timid spoons" with "a mouthful of grasshopper seeds and two legs of loess mud", with an obvious element of contempt. Later, it developed to imitate Shanxi dialect, Jiaodong dialect, Tianjin dialect, Baodi dialect and Tangshan dialect. In the early thirties, it was expanded to include Shanghainese, Suzhou, and Cantonese. Since the mid-forties, English has been added. After the liberation of China, there was also the emergence of the Chinese dialect, which is a copy of foreign flavors, and the Mandarin spoken by overseas Chinese. Learning to do small business yells, also known as the sound of goods, the main copy of the sale of small and large fish, selling tea eggs, selling smoked fish fried gluten, selling hard noodle meat and potatoes, selling wontons, selling cloth, selling clothes, selling buns yells.

The joke

is to make fun of the joke. A, B two people, a guest and a master, a wise and a fool, with a funny tone to tease each other, praise and criticism, satirical mockery. The repertoire mainly consists of "On Cupping and Teasing", "Finding the Hall", "Old Elderly" and so on. At the end of the Qing Dynasty, Ying Convergence of the "is also a collection of the sequel" mentioned that the comedian is "comical biography of special talent", a graphic depiction of the "tease" of the art of charm, said: "the comedian, every mouth, people will be hilarious, very heard! Its funny words a few years later to the people said, the people who heard still laugh uncontrollably, and its moving force is also great! It can be seen, then, the comedy has been the "say" form, "tease" content, "learning" means in one furnace.

Singing

Singing "Fa Si Xi", "String Book", "Tai Ping Lyrics" and "Nong Jia Le", "Forget it! Edit this section of the form of composition

Famous comedy artist Ma Ji pointed out when talking about the basic concept of comedy: "(Comedy) is the art of making people laugh by organizing a series of unique 'baggage', and the baggage referred to here is the baggage of the language arts, and the language referred to here is the baggage! The language of the art of language language ......, language, baggage, laughter, can be said to be the three major elements of the art of comedy, and is indispensable." (Quoted from Ma Ji's "Thirty Years of Looking Back and Spitting Out" in Qu Yi, No. 2, 1987) Among the three elements he listed, language and laughter are what some other comedic arts also have, and only the baggage is unique to the art of xiangsheng. Baggage is the most important part of the art of comedy. Therefore, analyzing the content and form of baggage is the key to study the art of comedy.　The word "baggage" is a figurative word, which actually refers to the process of the brewing and development of comedic conflicts in comedy. The so-called "three turns and four shakes" is a structure often used in comedy baggage. The so-called "three turns and four shakes" is a structure often used in comedy baggage, in which "three turns" refers to the repeated rendering and emphasizing of the illusion of the contradiction, and "four shakes" refers to the revelation of the truth of the contradiction after the "three turns".

2006 Spring Festival Gala Comedy "Newly Speaking Tongue Twister"

The characteristic of comedy contradiction is "to cover up one's own essence with the illusion of another essence." (Quoted from Marx's "Introduction" in The Complete Works of Man, Vol. 1, p. 5) Thus, in comedic contradictions, there is an extraordinary variety of illusions. Falsehood is in fact a phenomenon characterized by its ability to withdraw appearances that are contrary to (or divergent from) its essence, and yet, in its own peculiar way, the falsehood reflects the essence extremely y. Therefore, real comedic contradictions are characterized by the unexpected and reasonable. In duologue, the two sides of the comedic contradiction - the baggage (the phenomenon and the essence, etc.) - are acted by both sides of the comedian, and the contradiction is gradually revealed through dialog. Comedic art techniques (such as exaggeration, misunderstanding, coincidence, etc.) are widely used in various comedic arts, and are not unique to comedy. However, comedy has its own characteristics when using these techniques. For example, many plays and movies use visual images to form misunderstandings (the films The Great Dictator and The Black Tulip all feature two people who look exactly like each other), whereas comedy mostly relies on dialogues when using misunderstandings. For example, when Gong Yunfu, an entertainer, changes his profession to selling vegetables, he says, "When I put the pick on, I touched my shoulder, and it hurt! He remembers the call of "Encountering the Queen": 'Alas, bitter wow! The old lady heard: 'Oh! Cucumber bitter, don't.'" Obviously, this package employs the misunderstanding technique, and the misunderstanding is caused through the dialog between the characters. The misunderstanding cannot be caused by leaving the two sides of the dialog.　The organization of baggage through the dialogue of characters is the most used and important method in comedy. This is true not only in the "son and mother comedy" type of comedy, but also in the "head sinking" type of comedy. This is true not only in duologue, but also in monologue. For example, in the monologue "Pearl, Jade and White Jade Soup", the burden of saving the bottom is composed of the dialogue between the emperor Zhu Yuanzhang and his ministers, and this kind of burden composed of dialogues abounds in the works of comedy, and the list goes on.　Dialogue is not only embodied in the organization of the baggage, but also in the use of various means of comic art. "Talking, learning, teasing and singing" are the four most basic artistic means of comedy. "Talking" is to tell jokes and tongue-twisters, "learning" is to imitate various kinds of hawking voices, singing voices and the languages of various characters, and "teasing" is to imitate the languages of various characters. "Teasing" is to catch jokes and make people laugh, and "singing" is to make up some funny words and sing them in various tunes. The use of these artistic means only into the scope of the conversation is in line with the artistic laws of comic creation. Comic performances cannot be learned for the sake of learning and sung for the sake of singing. The words spoken by the comedian in dialect still need to achieve the purpose of dialog; the songs and operas sung are either used as arguments in the dialog, or the lyrics are sung to express the content of the dialog. At present, some of the "Liu dialect" (i.e., to learn songs, opera-based comedy) comedy performances have actually turned into audience sing-along concerts, which, although it can also achieve theater effects, goes against the essence of comedy as a conversational art. This tendency of "singing for the sake of singing" is not desirable.

Comic actors are not mainly performing as narrators as in the case of book reviews and other operatic art, nor are they performing as characters as in the case of theater actors, but as interlocutors. The language used by the comedian is not narrative, but conversational (i.e., question-and-answer). This is more obvious in the subjunctive comic type of comedy. In fact, in the head-sinking type of comedy, the comedian and the comic actor are equally engaged in dialog. Although the words of the comic actor do have a narrative element in their content, they are still formally expressed as a dialog between the comic actor and the comic actor; here, the narrative content can only be said as a reply, but not as a story out of the specific context of the dialog.　The comedian in the performance is always a conversationalist, not an actor (the word "actor" in English is "actor", which can also be hard translated as "actor"). The comedian mainly relies on dialogues to shape the character image, rather than relying on

Comic "Things in Our Village"

on external image and physical movements. The external image of the comedian is "unchanging", and this characteristic has a lot to do with the special aesthetic style of the comedy. Some researchers believe that comedy performance is largely a kind of "I play me" vernacular performance (see Lu Changwang's "A Few Thoughts on the Problems of Opera Performance" in the Ninth Series of Opera Art Series, p. 76), while others believe that it is a kind of virtual performance. (See Xue Bao Kun, The Art of Laughter, pp. 64-65.) But in any case, the physical movements of the comedian are only auxiliary means employed to make the dialog more vivid and imaginative, and these movements are not as important and complete as those in drama.　In a head-sinking type of comic opera, the words of the comic actor, though few, should serve as a finishing touch. The importance and necessity of the comic actor can be taken as "proof" of the proposition that "comedy is the art of dialog". Among the several types of comedy, group comedy is further developed and evolved on the basis of counterpart comedy, which transforms the bilateral dialog of counterpart comedy into a multilateral dialog; and it has certain dramatic elements.　The case of monologue is more special. The monologue is developed and evolved from folk stories and jokes. It has the artistic characteristics of both stories and jokes. In this regard, experts have made insightful comments. Edit the main features

In narrative art, the penetrating plot constitutes a closed structure with a beginning, an end and a linear development, which does not allow interference from the outside. In the art of theater, there is the theory of the fourth wall. It requires a hypothetical wall to stand between the actor and the audience, a wall that makes the communication between the actor and the audience indirect in nature.　The art of comedy is very different. The "plot" in comedy is intermittent, if any. Therefore, the content of the comedy makes people feel uncertain. The burdens of comedy often provide the audience with illusions, while hiding the truth. In this way, the audience is prompted to think on their own initiative, thus enhancing the exchange of ideas between the two parties. In contrast, the actors in a comic book (and some other musical arts) not only explain the cause and effect relationship of the matter clearly, but also clarify the theme and ending of the story in advance through the winning headline, which the audience only needs to passively accept. In comic performances, the actors no longer enjoy the status of "Mr. Storyteller" as in the case of book critics; actors and actresses, actors and audience are all in the capacity of equal interlocutors. They can express their different opinions on things. This kind of different opinions from various aspects not only constitutes the formal characteristics of comedy, but also is the source of comedic contradictions in comedy. Here, all the actor's words have to be subjected to another

comic

an actor and the audience's rigorous test, his all sorts of metaphysical, self-contradictory, absurd and exaggerated, logical confusion of the words can not escape the audience's ears, and he is often due to "out of the good show" by the laughter, and is in the "can't get off the stage". He is often laughed at for "making a fool of himself", and is in an "embarrassing" situation of "not being able to get off the stage". The audience feel their own psychological advantage through the laughter, and in the laughter of the subtle education. Appreciation of the comic process can better realize the purpose of "edutainment", and thus the art of comedy is very popular among the masses.　Comic performances take a direct approach to the audience, the "fourth wall" does not exist in the comic performance. Many actors also ask questions directly to the audience, or answer questions raised by the audience, and meet the requirements of the audience. This greatly strengthens the connection and communication between the actors and the audience.　In the appreciation process of comedy, the audience can express their opinions and attitudes through laughter, although they are generally not able to engage in direct dialog with the actors. In addition, in many comedies, the words of the comic actors often represent the viewpoints of the audience, and the comic actors often act as the spokesperson of the audience to have a dialog with the comic actors.　From the above analysis, it can be seen that in the process of performing and appreciating comedy, the communication between the actors and the audience is two-way and very close. This feature is inseparable from its unique art form - the form of dialog. This form satisfies the general audience's sense of participation, which results in a unique artistic charm. Comedy and the audience have become friends "without words", it draws wisdom and humor from the masses, expresses the masses' pursuit of truth, goodness and beauty and optimism, and exposes and satirizes the falsehoods and ugliness in life. With its exquisite life content and unique art form, it has become the flower of excellent national art.　In a word, comedy is the art of comedy in content and the art of dialog in form. These two characteristics of comedy in content and form are not isolated from each other, but are mutually inclusive, interpenetrating, interdependent and transforming. Edit this section of the knowledge of comedy

Speaking, learning, teasing and singing Qu art terminology. The four basic artistic means of the comic tradition. "Saying" is to tell jokes and play riddles, tongue twisters, etc.; "Learning" is to imitate the sounds of various birds and animals, hawking, singing and various characters, language, etc.; "Teasing" is to catch each other's jokes and laugh; "Singing" is to catch each other's jokes and laughs. The "Singing" of comic opera refers to the lyrics of the songs. Due to certain relationships, the comedy performed on TV in the past put all the singing categories under singing, which is not correct. As long as the lyrics are sung, everything else is learned. In comedy, there are often programs that emphasize the use of one or two of these means, such as "Changing Careers", "Drama and Dialect", which emphasizes "learning" and "singing", "Eight Panels", "Spring Lantern Riddles", which focuses on "talking and teasing". The "Eight Panels" and "Spring Lantern Riddles" emphasize "talking and teasing". Actors also tend to be good at using certain means to form different styles.　Mat Talk A term for a curricular art. The opening speech before a comedian appears on stage to perform a formal program, sometimes a small program, to attract the audience's attention or point out the content of the formal program.　Into the living A term of art in Chinese opera. A term used to refer to a piece of content used to introduce the main topic of a comedy show, which has the function of bringing up and down.　Wrapping A term used in Chinese opera. Refers to the method of organizing jokes in comedy, one-legged opera, and shandong express book. A joke in the brewing, organization, called the "Department of baggage", bursting called "shake baggage". It is customary to refer to the jokes as "baggage".　Three turns and four shakes: A term used in Chinese opera. One of the means of organizing baggage in comedy. It refers to a comic performance in which the story of the characters is rendered or an atmosphere is created by repeated padding and backing, and then the baggage is shaken off to produce laughs.　A head sinker: A term used in Chinese opera. One of the ways of presenting a duet. It refers to the performance of two actors, one of whom is the main narrator, i.e. the comic, while the other uses dialog to support the narration, i.e. the comic. Since the storyline is mainly comic, it is called.　ZiMianLiu (子母哏) A term used in the art of Chinese opera. One of the ways of performing comic dialog. Refers to the comic performance, the two actors (the comic and the comic) undertake basically the same task, such as by arguing with each other to organize the baggage and so on.　Catch the comedian Curvature terminology. A term used in Chinese opera to describe a performance of a comic opera or a comic book, in which a ridiculous content is inserted into the program to cause the audience to laugh. Actors tend to capture the subject matter of the interjections on the spot, and combined with the content of the program, in order to achieve good results.　Comic relief: A term used in the art of opera. The actor who mainly narrates the storyline in a duet or group comedy show, now usually called "A". In comic comedy, the comic and the comic cooperation, through the support of the comic, padding, so that the narrative gradually composed of baggage, resulting in laughter. Group comedy to increase the "mud seam", its role is basically the same as the "cupped-liangue".　Cu哏 曲艺名词。 The actor who narrates the storyline with the "jokes" during the duet or group comedy performance, now usually called "B".　Mud slit. The actor who narrates the storyline as a comic in a group or spoken-word comedy performance, now usually called "C".　Leg work Leg work - in order to learn to sing or perform a plot in a comic opera, two people with a little make-up, sub-package to catch the corner, into the role of the performance, and then have to exit to narrate the story, this comic segment line is called "leg work".　Smash hanging Smash hanging is a jargon in the comic, most of the comic is in the storytelling, and the story has to have a main character, with the jokes of the person to achieve the purpose of shaking the baggage.　GuanKou, also known as "trip", for a longer speech in a fast-paced manner, like a string of jewels always to the end, the actor memorized the words beforehand to skillfully arch the mouth, in order to play a role in rendering the mood of the book, to show the skills and even produce laughs. Editorial section of the social evaluation

Feng Buyi proposed: "in the many varieties of Chinese opera, there is a single person to tell a ridiculous story of the form of performance, known as the monoglossal comic ...... (monoglossal comic), but seek admonition fruit back to the sweet, but not necessarily so much as the beginning and the end of the system is different from the short version of the words of the book, stories, jokes, and also different from counterpoint, is a genre of oral literature with a unique style." (Quoted from "Inheriting Tradition, Enriching and Improving" in Qu Yi, No. 5, 1986).　According to Wang Xingzhi, "It may not be appropriate to incorporate the monologue directly into the artistic category of short stories, but since they are both narrative art forms, from the point of view of narration and characterization, not only do they have many similarities, but the monologue has a number of unique features." (Quoted from "The Novelist's Beneficial Friend - or "Powerful Enemy" in Chinese Quartet, p. 280) Li Fengqi also pointed out that "monologue is famous for its storytelling, and there are some that favor reasoning, the so-called 'polemical type'. 'argumentative type', this kind of comedy is easily hollow, boring and difficult to write, and it is almost extinct in new works." (Quoted from "A Vivid Picture Volume of Social Customs," published in Qu Yi, No. 5, 1986) It seems that the experts are relatively -unanimous in their view that stand-up comedy is a kind of comedic narrative art. As far as its form is concerned, monologue is not an art of dialog, but it has many variations compared with the traditional narrative art (commentaries, stories, etc.). For example, monologue focuses on reflecting the dialogues between characters in terms of content, and mainly relies on the dialogues to constitute baggage and portray images. Since the organization of baggage in the creation of monologue is subject to the constraints of plot and character, the creation of monologue is very difficult. Story-type monologue creation has been nearly extinct in recent years; argumentative monologue due to the content and form of the question there is not easy to overcome the contradiction, and give way to the counterpoint.　The counterpart from the monologue from the birth of comedy, but it is "blue but better than blue", its artistic life deduce a long time. This has a lot to do with the harmony between its content and form. Simply put, the main content of the counterpart of the comic dialogue, the form it uses is also a dialogue, the two are a kind of isomorphic, isomorphic relationship. Fourth, the dialog is not only reflected in the process of creation and performance of the comedy, but also in the appreciation process. As a stage art (at present basically), the performance and appreciation of comedy is unified in space and time. Comedy, like other stage arts, has the problem of communicating with the audience.　As we all know, comedy is an art that is best at communicating with the audience, and the theater effect produced by a comedy performance is often beyond the reach of other stage arts. In addition to the reason of comedic content, the unique artistic expression of comedy - the form of dialog - is also an important reason. In the art of narrative, the creator is confident in his power to penetrate isolated events, to capture their "inner essence", to give them an order of causal connection, to constitute the fictional plot and history of the story, and to instill these contents into the audience. Here, the flow of information is basically unidirectional, and the audience is basically in a position of passive acceptance. Editorial Summary of Master Relationships of Comic Actors

Network Comedy Drama

With the development of the times, comedy is also facing the problem of keeping up with the times. With the popularity of web dramas, web comedy dramas combining with comedy and web dramas have come into being, and the world's first web comedy drama "Scrambled Eggs with Tomatoes" is the first example of combining comedy and web dramas. It is believed that there will be more and better network comedy drama launched one after another to promote the development of comedy in the new era.