Why comedy is not suitable for girls

In fact, this is not Guo Degang's point of view, as early as a few decades ago, the master of the comedy Mr. Hou Baolin, Mr. Zhang Shoushen had a clear hair on the woman said the comedy. The main reason is that there are a lot of dirty jokes in comedy that involve relationships between men and women that are not suitable for female artists to speak, coupled with some prejudice in society.

The earliest female comedians appeared in the Republic of China. The female performers who appeared at this time were basically members of the artist's family or girls, who worked as artists with their parents, and the earliest female comedians appeared in the comedy family - Lai Xiaoru, De Shuzhen, Miao Xizhen, Feng Hongfei and so on.

Lai Xiaoru was born in Tianjin in 1907, the daughter of Lai Furu, a bamboo-paneled book artist from the Temple of Heaven. In 1924, she brought her sons, Lai Zhenhua and Lai Pingyue (known as "Little Monster"), and her daughter, Lai Xiaoru, to the "Grand View Garden" in Jinan, where they were invited to perform in the "Grand View Garden". In 1924, he brought his sons, Lai Zhenhua and Lai Pingyue (known as "Little Monster"), and his daughter, Lai Xiaoru, to Jinan to perform comedy in the "Grand View Garden" market. Their father and daughter, sister and brother were mutual comedy, very popular with the local people. Lai Xiaoru loved to dress up as a man and was known as a "fake boy". The comedies they performed were mainly "Wenjiao" and "Guanjiao", such as "Family Hall Order", "Five Line Poem", "Playful Words", "Tethered Doll", "Quotable Residence", "Reporting the Name of the Vegetable", "Dashang Shou", "Five Red Pictures", etc. They were very popular among the local people.

De Shuzhen is the wife and sister of Feng Zhensheng, the son of Feng Kunzhi, a second-generation comedian, so it seems that although she is not very old, she is a senior in the comedy world, belonging to the "De" generation. When she was two years old, she went with her sister and brother-in-law to join Feng Kunzhi's family in Heilongjiang. From a young age to Feng Kunzhi to learn the art, about 10 years old into the "Feng family door" to become Shen Chun and re-transmission of the disciples, for the third generation of comedians, "De" generation, the only one young female artists. De Shuzhen was a multi-talented artist who not only performed comedy, but also sang Jingyun drums and time-keyed songs. After the founding of New China, she joined the Harbin Opera Troupe and worked with her brother-in-law Feng Zhensheng's son, Feng Dazhuan, who was also one of the "Four Great Tsuen of Comic Opera". She has participated in three times in the sympathy troupes for the anti-U.S. and North Korea, and went to the Korean battlefield to perform for the volunteers and soldiers, which was very well received, and was awarded with commendations. She is very good at singing and performing because of her round and sweet voice, and she is very good at singing and performing Peking Opera and Chinese Opera, and her performance is characterized by mellow and mellow flavor, and her performance is also characterized by funny and humorous. Her representative repertoire of comedy is "learning to review the opera", "learning drums", "King Kong legs", "Yellow Crane Tower", "Fenhewan", "Sheep on the tree", "six mouths", "Spring Festival Couplet" and so on.

Miao Xizhen was a disciple of Feng Zhensheng, who was known as one of the "Four Great Tsuen". Feng Hongfei was the wife of the comedian Zhang Qingsen, for whom she was the comic relief.

At that time, this kind of women's comedy was also opposed by the society, but they practiced hard to improve their skills, and with the help and guidance of the older generation of artists, they sought to find a proper "way to live", and refrained from performing non-vegetarian programs (the "stinking work" of comedy), which was the best way for female actors to compete in the field of comedy. The actresses have been fighting for a place in the comedy industry.

But the development of women's comedy became more complicated during the war. At that time, folk artists were living in hardship, and various art forms were developing abnormally. Some female comedians used low-grade and vulgar programs to attract audiences, and some "female comedians" were not serious in their private lives, with serious problems of style and obvious differences.

In the comedy world, although most people treated female performers with respect, a few people sometimes used insulting language and behavior toward them. After the liberation, many people's prejudice against female comedians still existed, and in the 60s and 70s, the cultural department even explicitly banned female actors from speaking in comedy, and the comedy program of the later-established Northern China School of Chinese Opera still did not admit female students for the first few terms.

In 1956, Mr. Zhang Shoushen argued at a symposium: "If a woman is a comedian, there are not enough conditions for her to be a comedian, and comedy is not for women. Other departments can have women, driving trains, driving cars, driving tractors, factory workers, school teachers, cadres, there are women, but only women to say comedy, can say are not. What's the reason for this? Because she stood to the scene, quite beautiful, a phase of her cold stupid, the people full of spoiled it!" Hou Baolin in 1973 at a symposium also believes that: "female comedy is not impossible, but it is easy to remind us of the past, making us feel uncomfortable."