The famous Yue opera performance artist He Saifei's rush to the crown won the applause of the opera community and opera lovers, and she denounced the phenomenon of "only the award" in the opera industry, which greatly pleased the people.
In order to impact the awards and get projects and performance, some opera practitioners do not hesitate to spend a lot of money and resources to "fight for awards", and many new plays that win awards are shelved because the audience does not buy them, and in the end, the money is gone, and the plays that are spent on money are gone.
Similar to the speech on the Chinese opera industry's excessive pursuit of new dramas to win awards, Peking Opera performance artist Shi Yihong also said in a lecture that since both Peking Opera and Yue Opera artists have pointed out this chaos in the Chinese opera industry, it can be seen that some problems have become quite serious within the industry.
After He Saifei's speech fermented on the Internet, many netizens who were concerned about the development of opera were also saddened by the chaos of "fighting for awards" in the opera industry, and at the same time, many people believed that the biggest problem in the opera industry is that there are difficulties in development, there are too few audiences willing to watch and listen to the opera, and it is difficult for the state to invest more money to drive it.
Therefore, some netizens mentioned the "Guo Degang model", believing that the opera industry should learn the development ideas of Deyun Society and Qilin Opera Society, fully face the market and bear its own profits and losses, so that opera actors can use the box office to feed themselves and achieve the survival of the fittest in order to activate the entire industry.
In this regard, the author believes that in order to develop the opera industry, on the one hand, it is necessary to treat the symptoms, and the circle culture, artistic gray production and artistic corruption reflected in the chaos of the "fighting for awards" in the opera industry mentioned by Saifei and Shi Yihong need to be rectified one by one.
At the same time, the development of opera must also cure the root cause, but this method of curing the root cause must not blindly pursue the "Guo Degang model", which is not only unusable and unusable for the opera industry.
First, it can't be used
There are two main reasons why the "Guo Degang model" cannot be used in the opera industry:
1. The source of the audience group
Deyun Society's Qilin Opera Club has indeed a large audience, whether Guo Degang sings Peking Opera or sings a commentary, not only can sell tickets, but the ticket price is also quite high, from hundreds to thousands, this is a fact that no one denies, and its success at the market level is also worthy of recognition.
However, the main audience group of Guo Degang singing Peking Opera was "shifted" from the crosstalk audience, he first accumulated a large number of loyal fans through the crosstalk industry for more than ten years, and then gradually guided fans to develop in other cross-border fields, which is commonly known as "cutting leeks".
For example, whether Guo Degang is acting in dramas, acting in variety shows or filming film and television dramas, the main force that contributes to the box office is still from Guo Degang's basic fans, most of whom follow from crosstalk.
To put it bluntly, if Guo Degang, Zhang Wenshun, and Li Jing opened the Qilin Opera Club instead of the Deyun Club more than 20 years ago, with his Peking Opera level, do you think he can still become popular throughout the country?
The question is, where in the opera industry to find those basic plates of crosstalk fans owned by Guo Degang? Can't you let the opera actors all talk about crosstalk, perform sketches and make comedy, and then come to sing when they are famous and have fans?
Typical how Saifei, most of the audience knows her from film and television dramas and likes her, if He Saifei only sings from the beginning and does not act in film and television dramas, the number of her fans and audiences will never be as large as it is now, and her personal influence is not as strong as it is now, and denouncing some chaos at the opera conference will not be on the hot search.
There are definitely artists in the opera industry who are suitable for Guo Degang's model, but they need to have two conditions at the same time, one is to have a fan base, and the other is to have quite good opera skills, such people in the opera industry have such as Wang Peiyu, but the number is too small, can only play a leading role like Guo Degang to promote and promote, can not solve the problems of the whole industry, naturally it is difficult to promote on a large scale.
2. Scale issues
Guo Degang also has market concerns when he is engaged in the Kirin Opera Club, and he is also ready to lose millions, and the money he earns in other fields can be used to supplement the Kirin Opera Club, which shows that even Guo Degang, who has a huge fan base, is not so confident in the prospects of the opera market.
Deyun Society is just a medium-sized entertainment company, they are still cautious about getting involved in the opera industry, there are so many opera actors, theaters and practitioners in the mainland, any reform of the operating model is not a trivial matter, it will affect the future and life of all practitioners in the industry, so it is difficult to refer to the model of a medium-sized company to carry out large-scale reform.
As the saying goes, a boat is small and good to turn around, the ship of Deyun Society can run the moat, and the national opera industry is a giant ship of 10,000 tons, which can only run in the big rivers and oceans, this is the difference.
Second, it cannot be used
If you want to apply Guo Degang's model to the national opera community, there are two practical problems that will lead to the inability to adopt it.
1. Development ideas
Qilin Opera Club is a Chinese opera group under a commercial company, which adopts a commercial operation model, with tickets and appearance fees as its main sources of income, coupled with its audience group mainly fans, which leads to its development ideas must adhere to the commercial route.
For most opera troupes, they not only have to act and sell tickets, but also adhere to the promotion and inheritance of traditional arts, and cannot completely follow market demand.
For example, Guo Degang and Tianjin Pingjuan Theater collaborated on "Fighting Dogs and Persuading Husbands", Zeng Zhaojuan was amused by Guo Degang on stage, this phenomenon is a typical performance accident in traditional opera art, but this performance accident is known as a "classic famous scene" among Guo Degang's fans, and is as fanatical as Yu Qian's drunken crosstalk on stage.
This phenomenon of taking performance accidents as classics can occur in Guo Degang's model, after all, most of his fans are crosstalk audiences, and what they watch is funny, and there may not be funny scenes without them.
However, this kind of atmosphere cannot appear in traditional opera troupes, if the national opera troupes are smashing and hanging on the stage in order to please the audience, there is no need to pass on the opera, and in the end, the two who can speak, sing, tease and unique skills turn or will dominate the rivers and lakes, and the opera and opera arts of the whole country will all be transformed by two.
Similar things happened in the opera industry in the forties of the last century, when opera actors could only cater to the low-grade tastes of some audiences in order to survive, and made a large number of pink dramas and farces represented by "The Great Coffin" and "Spinning Cotton", which almost ruined the entire opera industry, in the words of Mr. Lao She in "Tea House", "Serious things, all have to be rotten".
Therefore, for traditional art, it is not possible not to push it to the market, but if it is fully promoted to the market, blindly catering to the audience will lead to the decline or even degradation of art in the case of the average quality and appreciation level of the audience.
2. Capital characteristics
Guo Degang's model takes the capital route, whether it is propaganda or operation is capital is promoted, and a feature or result of capital operation is wealth gathering, the extreme performance is monopoly and a monopoly, so Guo Degang's own son Guo Qilin believes that the red fire of the crosstalk industry is actually false prosperity, and the fire is Deyun Society, not crosstalk.
In fact, the phenomenon of sky-high remuneration of actors in the entertainment industry is also the inevitable result of capital operation, a small number of people monopolize most of the resources and traffic, and then it will cause traffic actors and the capital behind them to harvest most of the industry dividends, other massive actors even powerful actors can only act as the denominator in the industry because they do not have capital blessings, which is the famous "8020" rule in the market.
If the opera industry also follows Guo Degang's model to engage in capital operations, concentrating resources and funds on a small number of actors, it will definitely be popular, but this will bring a terrible situation, 10% of stars harvest 80% of the dividend, 10% of the actors share 10% of the dividend, and the remaining 80% of the actors can only share the remaining 10%.
Zhang Junbo, a young opera actor who has an excellent performance at the "China Bangzi Conference", earns only 1,500 yuan a month, and he is one of the 80% of the actors, and whether it is He Saifei or Shi Yihong, they are objectively 10% of the stars.
That is to say, the actual opera industry is already following the capitalization operation model, but it has not been carried out on a large scale, if the entire opera industry completely turns to the market and does it all according to the capital operation model, then the funds invested in Li Shengsu, He Saifei, Shi Yihong, Zhang Huoding and other famous actors will be more and more, and most of the opera actors in the country will become Zhang Junbo or even simply unemployed, even the salary of 1,500 yuan is gone.
Capital is a good thing, but if capital is allowed to develop wildly, the adverse impact will be very serious, whether it is the decline of artistic quality or the collapse and dissipation of the talent team, it is a foreseeable result.
Therefore, the opera and qu art market can and must have the existence of the "Guo Degang model", but the entire opera industry must not all become the Guo Degang model.
3. What should I do?
The author mentioned a question in the article: There are many people who know and like Yang Jiuhong in the TV series "Mansion Gate", but how many of them have really watched He Saifei's Yue drama?
This is the biggest problem of the Chinese opera industry, we have not yet established a large, stable and healthy audience group, have not formed a fertile opera soil, naturally it is difficult to grow excellent opera results.
The construction of the opera ecology is not as simple as inviting a few stars to speculate traffic or arrange a few new plays to win awards, this is a systematic project.
How many Chinese opera classes are there in school? How many opera competitions are there for teenagers? How many students are in the Xiqu School?
How many opera-themed TV series are on TV, how many opera-themed movies are there in cinemas, and how many opera-themed works and popular science are there on short video platforms?
How many opera clubs are there in the community? How many opera performances are there in the city? How many opera stages are there in the countryside?
Don't underestimate the subtle guiding role of various performances and film and television dramas on the audience, for example, Huang Xiaoming and Yin Zheng collaborated on a TV series "Sideburns Are Not Begonia Red", as a drama-themed TV series has won the love of countless audiences, directly driving many audiences to pay attention to and appreciate opera.
However, the current film and television drama industry's various ancient puppet dramas are the focus, all kinds of eating, drinking and playing in variety shows are the focus, and even various "digging and digging" in short video platforms are the focus.
In the face of desertification, inferiority, and the entertainment market, what the literary and art circles should do is to actively guide, and what the media industry should do is to actively cooperate, rather than taking the phrase "young people like to watch" as a pretext, and then actively catering to the low-level interests of some audiences, and finally forming a spiral downward in the entire market.
In summary, the "Guo Degang model" definitely has its distinct advantages, and it can also drive the traffic and attention of the opera industry to a certain extent, which is worthy of recognition and indispensable, but this model still belongs to the star effect, only suitable for a few groups such as Deyun Society, and is not suitable for promotion to the entire industry.
Just like Yan Hexiang said, crosstalk is not fire, Guo Degang is fired. What the Chinese opera world needs now is a model that brings the whole industry to life, rather than focusing on winning an award or building a big star.
In order for the Chinese opera industry to develop healthily and steadily, in addition to rectifying all kinds of chaos and punishing "artistic corruption", how to cultivate high-quality audience groups and establish an excellent development atmosphere is a topic that must be considered from an all-round perspective.