Suit both refined and popular tastes, if you don't fight, you will have it. Why is crosstalk art at a rare low point in history?

Guo Qilin once said that the current crosstalk industry is a false prosperity.

Guo Shaoban's words are not an expression, but his feelings. What he probably means is that at present, only Deyun Society is better in China and other organizations are not good, so it belongs to false prosperity.

The author thinks that Guo Qilin's argument is correct, but not necessarily accurate.

So, what stage is the current domestic cross talk industry in history? Prosperity or depression, peak or undervaluation?

It's a bit complicated, and it can't be explained clearly in one sentence.

We might as well look at the performance of the three peak periods in the history of cross talk industry and summarize their respective characteristics from three aspects: actors, works and audiences, among which the audience is divided into two aspects: horizontal and vertical.

I. From the 1920s to 1930s

Representative figures:,, Chang.

Actor: During this period, crosstalk artists ushered in the first outbreak in the industry in terms of quantity and quality. Starting from the Eight Virtues of Xiangsheng, the Shouzi generation headed by, Ma and others became the backbone, and then the Baozi generation headed by Chang began to become the star of crosstalk.

With the rapid expansion of crosstalk artists, crosstalk groups began to appear, and five teahouses, such as Lianxing Teahouse and Chenguang Teahouse, became the venues for formal crosstalk performances, which was the first time in the history of the industry.

Works: This period is the integration period of Qing-men crosstalk and Hunmen crosstalk. After dismantling and washing, the two styles of cross talk have become the same property of the cross talk industry and have continued to this day.

In addition, artists represented by Zhang Shouchen and Zhang Jieyao have adapted and created many popular crosstalk works, such as Nine Arts in Court.

Moreover, during this period, civilized cross talk began to spread gradually, and cross talk was no longer a wandering art based on dumping the ground, but became a popular art.

Audience: Horizontally, crosstalk began to spread widely from the northeast to the south of the Yangtze River and from Tangshan to Xi 'an, and crosstalk performances in major cities began to normalize.

Vertically, the audience of crosstalk has developed from the middle and lower classes, from the ruling class such as Yuan Shikai, Zhang Zongchang and Zhang Xueliang to the elite class such as Zhang Boling, and then to the leaders from all walks of life such as Mei Lanfang, and has been extended to ordinary citizens. For the first time, crosstalk has become an art form appreciated by all classes.

Second, in the 1950s and 1960s.

Representative figures: Ma, Hou, Hou.

Actor: This period is the peak period of Baozi generation artists, and it is also the vigorous development period of Wen Zi generation artists. Ma, Hou, and others are at the peak of cross talk, while Su, and others are beginning to emerge, while Hou, Ma Ji and others are gradually maturing.

Crosstalk has spread all over the country, and professional crosstalk groups have been established in Heilongjiang, Gansu, Anhui, Jiangsu, Hubei and other places.

Works: Crosstalk in this period was reformed, and a large number of new cross talks were created on the basis of inheriting traditional cross talks. For example, Hou's One Pass, Night Tour and Ma's Buy a Monkey have all become classic works of this period. Many works, such as Night Walk, continue to this day. Ma's character "Ma Daha" has become synonymous.

Audience: Horizontally, crosstalk has been further popularized throughout the country. There are many crosstalk lovers and artists in Heilongjiang in the north, Hong Kong in the south, Shanghai in the east and Gansu in the west.

Vertically, people from national leaders to the fields have become the audience of cross talk, and the development of broadcasting technology and movies has spread cross talk to thousands of households.

Third, the 1980s and 1990s.

Representative figures: Ma Ji, Hou, Feng Gong.

Actor: This period is the fastest developing stage in the history of crosstalk industry. Professional and non-professional crosstalk performers are everywhere in the country, and almost all units have people who can speak crosstalk. Crosstalk is also a necessary program for large and small gatherings, and many children began to learn it from this period.

Cross talk teams have blossomed all over the country from professional to amateur, and many cultural centers and propaganda departments have professional cross talk teams.

Works: TV cross talk has quickly become the main creative direction of the cross talk industry with its fast pace, freshness and trend. Satire cross talk has become a popular cross talk theme, and works such as Elevator Adventure, Unique Name and Thief Company have become the symbols of this era.

At the same time, the trendy guitar crosstalk and rap crosstalk are also a flash in the pan in the history of the industry.

Audience: Horizontally, cross talk in this period is one of the most popular art forms in China. Crosstalk performers are even more popular with the masses than opera and film actors, and audiences all over the country can name several crosstalk performers they like. Ma Ji, Jiang Kun and other crosstalk stars are very popular at home and abroad.

Vertically, China leaders praised and affirmed Jiang Kun and Feng Gong in the Spring Festival Evening of 1990, which was also the peak moment of cross talk industry in this period. It can be said that crosstalk has become an art form that all walks of life like at this time, and it has almost reached the degree of all-round coverage.

Based on the characteristics of the above three periods, we can analyze the development of cross talk industry in the past ten years (20 10-2020):

Actor: Crosstalk performers have once again become the career choice direction of young people. Although the older generation of crosstalk performers gradually retired, the crosstalk industry experienced a period of neglect. However, some young actors have emerged in recent years, but from the artistic level, it is difficult to compare with the first three peak periods.

After the gradual reform of local folk art troupes, there are fewer and fewer state-owned professional crosstalk teams. At the same time, private crosstalk groups have sprung up like mushrooms after rain, and the number is not small, but they are still in the stage of large number and poor overall quality.

Works: There are very few classic works that can be handed down from generation to generation in this period. Crosstalk works are generally characterized by fragmentation and similarity. Works generally lack rigorous structure and can't stand scrutiny. The performance style is mainly impetuous and casual, which has gradually deviated from the category of language art.

Audience: Horizontally, audiences anywhere in the country can watch crosstalk works at any time through the Internet and TV. It can be said that almost everyone can become an audience of cross talk, but at the same time, the stickiness of cross talk audience is greatly reduced, and the audience who really understand cross talk has not increased. Instead, more people came to join in the fun.

Vertically, there are very few crosstalk performers who can appreciate his works, the audience of crosstalk performances is sinking, and the attitude of superstructure towards crosstalk industry works has reached the point where supervision needs to be strengthened. Both refined and popular tastes have become a scarce term in the phonology world.

To sum up, the development of crosstalk industry in recent ten years is: more actors, fewer excellent actors. There are many works, but few excellent works. Many people listen to crosstalk, but few people understand crosstalk.

Because most people in the industry are not professional enough, crosstalk performances can only be "empty-handed", and few people can reach the level of "empty-handed".

Most crosstalk performers in the industry have a low level of creation, and crosstalk works can't reach the level of "appealing to both refined and popular tastes", so they can only make their works develop in the vulgar direction.

Therefore, the cross talk in recent ten years can be summarized as a period of relative prosperity in business, while in the rare trough of cross talk art, business and art are in a state of separation, which is the real "false prosperity".