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Zhang Junbo's 1,500 yuan salary has attracted widespread attention, far beyond the scope of first-line stars in the entertainment industry. He won a full house with his outstanding performance in the latest edition of the China Bangzi Conference, and the judges even said that he had reached the high level of an artist and should be protected. However, when people learned that he was only paid 1,500 yuan a month, and had to support three children, although he had been working in the provincial league for five years, he was still a temporary worker, and the audience across the country was shocked.
In this show, the audience and the judges shed tears, and the judge He Saifei was even more emotional, and he couldn't help shouting: "What about the play? What about money? Where did it go? The common people can't see it! You took me, I'm going to talk! This incident triggered extensive social discussion, and countless netizens praised He Saifei and expressed support for Zhang Junbo, and also expressed their connotation for Jiang Kun and Feng Gong, the two chairmen of the Ququ Association.
So, why did Zhang Junbo's 1,500 yuan salary issue trigger such a big social repercussion? To understand this, we have to go back to a period of experience and remarks of Guo Degang, the head of the Deyun class.
Nowadays, when it comes to crosstalk, most people will think of Deyunshe and Guo Degang, but more than 20 years ago, that is, before the emergence of the "Beijing Crosstalk Conference", Guo Degang did not have any fame and status, he was just a young man who aspired to enter the system, eager to earn 2,000 yuan a month and live a stable life.
However, after many attempts to enter the Beijing crosstalk scene, he gradually realized that he could not become a member of the system. To realize his crosstalk dream, he had to find a different way and choose to develop crosstalk performance in a small theater. With the rise of Deyun Society, Guo Degang often gives media interviews, he stressed the importance of revitalizing traditional arts, but also stressed a precondition: artists must have enough material base to be able to make a living.
He pointed out: "Revitalize traditional arts, but the premise is that the artist has to live well, he is not as much as the shoe repair at the door, people have to support their families, let's tell the truth!" Guo Degang's remarks show his sober understanding, and it is precisely because of this understanding that he can rise to prominence in the crosstalk industry and become the leader in the current crosstalk industry.
In the same way, Zhang Junbo's salary issue caused public anger because it was widely believed that his acting skills and salary did not match. The salary of 1,500 yuan cannot support the basic living needs of himself and his three children. In "China Bangzi Conference", the host Bai Yansheng was full of emotion, he was worried that such an outstanding actor would leave the stage because of livelihood problems. He said: "I am really uncomfortable, because I think such good actors, if because of the bad life and work, I am really worried that they will leave this stage one day, I think we always say that the future of opera is in the youth, in the youth, what is the use of just shouting slogans, it has not turned positive for five years, we need someone to escort such excellent actors, young actors have a way out, opera has a way out!" ”
Therefore, the key to saving the traditional performing arts is how to provide material support to outstanding young actors so that they can survive in this field. If you blindly invest money in established artists, young artists will not be able to thrive. Although shouting slogans is important, there is not enough financial support, and the heroes will not even be able to solve the problem of food and clothing, let alone save the entire industry. As for whether the Zhang Junbo incident can attract the attention of relevant departments and bring about changes, we will wait and see.
To sum up, Zhang Junbo's 1,500 yuan salary has aroused widespread social concern, highlighting that the income of artists is crucial to the development of traditional arts. Through Guo Degang's experience, we can see that in order to revitalize traditional arts, it is necessary to ensure the livelihood of artists so that they can focus on performance. Similarly, the Zhang Junbo incident also reminds us that the living environment of young actors needs to be improved, otherwise it will be difficult for traditional opera arts to continue to prosper. It is hoped that the relevant departments will pay attention to this issue and take measures to ensure the basic livelihood of artists. Only in this way can we ensure the art of opera
The inheritance and development of the company will cultivate more outstanding young actors and lay a solid foundation for the future of opera art.
However, addressing this problem requires deep reflection and practical initiatives. First of all, the cultural sector should work with relevant industries to establish a better support system to ensure that outstanding young actors can get higher salaries and more opportunities. This includes raising their salaries and providing them with more opportunities to perform, as well as training and mentoring to help them continuously improve their acting careers.
At the same time, it is also necessary to strengthen the public's artistic education and cultural awareness, and increase people's attention and appreciation of traditional opera arts. This can be done by organizing arts events and performances in schools and communities, promoting traditional culture and fostering interest and understanding among audiences. Only if the public has more understanding and enthusiasm for traditional opera can support the development of young actors.
Finally, the government and all sectors of society should also increase investment and support for traditional opera arts. This includes not only providing financial support, but also formulating relevant policies to encourage the development of cultural industries and creating more performance venues and cultural exchange platforms. Only through the efforts of the whole society can we realize the inheritance and innovation of traditional opera arts, so that young actors can have a broader stage and a better future.
In short, the Zhang Junbo incident reflects some profound problems in the field of traditional opera art, but it also provides us with opportunities to think and improve. By strengthening the support system, improving public cultural literacy, and increasing investment and policy support, we can create a better environment for young performers to develop and ensure that traditional opera continues to shine in contemporary culture. This is our responsibility to traditional culture and our commitment to the future.
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