The most discordant sound before the Shenzhen Xiangsheng Intangible Cultural Heritage Conference: Liu Wei, a disciple of Shi Shengjie, comprehensively denied the first place in this conference, who is Liu Wei? The second question: What did Liu Wei say? The first question is, is it appropriate to hold the Intangible Cultural Heritage Conference in Shenzhen? The second question is, will the Intangible Cultural Heritage Conference be market-oriented? Third, will the Intangible Cultural Heritage Conference play a great role in promoting the development of cross-talk?

Before getting into the main topic of the article, let's understand two aspects.

< h1 class="pgc-h-arrow-right" > first, who is Liu Wei? </h1>

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<h1 class="pgc-h-arrow-right" > the second question: What did Liu Wei say? </h1>

This year's Xiangsheng Intangible Cultural Heritage Conference is actually the third session, the first session was held in Beijing, and the second and current sessions were held in Shenzhen.

Since the first year of the Xiangsheng Intangible Cultural Heritage Conference, it can be said that it has been controversial in the music and art circles, cultural circles, art circles, and the general public and netizens.

Today, I would like to share my personal views in conjunction with Liu Wei's opinion.

<h1 class="pgc-h-arrow-right" > the first question, is it appropriate to hold the Intangible Cultural Heritage Conference in Shenzhen? </h1>

Liu Wei and Shi Shengjie

I think this question should be said from a macro and micro perspective. From a macro point of view, cross-talk is a flower in China's literary and artistic circles and music art circles, and it is normal to hold such a conference in any city in our country, and it is all our cultural inheritance.

Microscopically, I think that cross-talk belongs to the northern genre, or that in the north it has a larger audience, so it is better to hold it in the south than to have a mass base in the north.

So why hold it in Shenzhen? I can only say that shenzhen has enthusiasm for this activity and is willing to invest, which may be an important reference reason.

<h1 class="pgc-h-arrow-right" > the second question, will the Intangible Cultural Heritage Conference be market-oriented? </h1>

According to the understanding of the previous two congresses, it is generally not market-oriented, but it is oriented to the audience, the masses, and the grassroots.

Therefore, selling tickets without selling tickets, in the case of sufficient funds, this is not a big problem, so I hope that everyone will not dwell on this matter anymore. If you think about it, wouldn't it be a good thing if every cultural and sports activity we engaged in had financial resources or other support?

<h1 class= "pgc-h-arrow-right" > the third aspect, will the Intangible Cultural Heritage Conference have a great role in promoting the development of cross-talk? </h1>

I personally express cautious optimism about this issue. I think that any kind of art, whether it is cross-talk, drum music, Peking opera, or other local operas, can be supported to a certain extent by the power of the artificial system, but it is only a life.

If an art species wants to thrive, it must be rooted in the people, rooted in the market, and take the road that conforms to the development law of art itself.

Therefore, I think that as a performance market, we should take the creation of new works and attracting new audiences as an important yardstick for future development achievements. If a genre or a drama genre is sought after by audience friends, especially young people, then I think he will be full of vitality, on the contrary, like vegetables in the greenhouse, can not withstand the wind, can not withstand the rain, after all, will not last long.

So I think Mr. Liu Wei's words are very reasonable to a certain extent, but I personally do not agree with his attitude of speaking.