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As a giant in the cross talk industry, Mr. Guo Degang has a unique and profound insight into the title of "artist".
As early as the unprecedented 10th anniversary celebration of Deyun Society, he once elaborated impassionedly: "Throughout the history of the entire industry, it is extremely rare to emerge an outstanding artist or even two master-level figures in a hundred years!"
Mr. Guo Degang made it clear that if you want to become an artist in the true sense, you need to make remarkable achievements in the field you focus on, take on the important responsibility of inheriting the tradition and pioneering the road of innovation, win the following of many loyal fans, create a unique artistic style, and bring far-reaching and substantial influence and promotion to your industry.
However, it is not enough to simply call yourself an "artist". A true artist must be backed by a wealth of practice and make a significant contribution to his or her industry.
Mr. Guo Degang cites masters such as Mei Lanfang, Zhou Xinfang, and even Ma Lianliang in the Chinese Peking Opera industry as examples, who should undoubtedly be revered as outstanding technical leaders, however, Mr. Guo Degang has always maintained a modest attitude towards himself, believing that he is just an ordinary cross talk artist, and has not yet reached the lofty realm of "artist".
In contrast, Ms. Wang Peiyu is too simplistic and one-sided in terms of self-positioning. She considers herself an artist solely by virtue of her artistic creation, but she has not thought deeply about what she has achieved in the field of Peking Opera and whether she has made significant contributions to the industry.
This is obviously contrary to Mr. Guo Degang's strict definition of an artist.
It is worth mentioning that in a variety show in 2015, when the program team invited the cross talk actor to label Mr. Guo Degang, the cake sincerely chose the label of "artist".
However, what is unexpected is that even though time flies and time flies, Mr. Guo Degang still sticks to his original intention, insisting that he is not an artist, but an ordinary cross talk artist, this stark contrast vividly shows the world of difference between Mr. Guo Degang and Ms. Wang Peiyu in terms of self-positioning.
Ms. Wang Peiyu's remarks as an artist have sparked heated discussions from all walks of life.
In a grand interview event, Yang Lan, a well-known host at home and abroad, asked Wang Peiyu, a master of Chinese and foreign drama, a sharp and thought-provoking topic: "What is your unique opinion on this, the savior-like role you play, and how does it save the current situation of Peking Opera on the verge of crisis?"
As we all know, in the minds of the audience, Guo Degang is undoubtedly the key figure who is known as "cross talk saves Peking Opera".
In the face of Yang Lan's sharp question, Wang Peiyu did not choose to remain silent, but responded with a firm and confident attitude: "I very much recognize the great contribution made by Mr. Guo Degang in the field of cross talk art, but we must not exaggerate the statement that 'cross talk saves Peking Opera', this view is too one-sided and extreme, and may even mislead the public and elevate Peking Opera to the height of cross talk."
In fact, many netizens hold similar opinions, they believe that it is because of their exposure to some excellent cross talk works that they have a strong interest in Peking Opera.
This also proves from another perspective that cross talk has indeed played a role in guidance and enlightenment to a certain extent, opening the door for the general public to enjoy Peking Opera, however, in Wang Peiyu's eyes, there is an obvious deviation in this view.
She pointed out that although cross talk is a highly entertaining art form, compared with Peking Opera, which is a representative of traditional opera, its professionalism and artistic value are still insufficient.
In addition, in the Peking Opera industry, there are many famous masters who have dedicated their lives to this ancient art form, such as Guo Degang, who has performed on stage with more than a dozen Peking Opera masters, and tickets are even more difficult to find, which fully shows that even without the promotion of cross talk, Peking Opera is still deeply loved and sought after by the audience.
Perhaps in order to defend the dignity of Peking Opera, Wang Peiyu expressed strong opposition to whether cross talk could play the role of the "savior" of Peking Opera.
She stressed that although Mr. Guo Degang has a deep love for Peking Opera, he is not a professional and cannot shoulder the heavy responsibility of protecting and inheriting Peking Opera culture.
This debate over the relationship between cross talk and Peking Opera reveals the different views of industry insiders on this issue. However, no matter what the result is, it is undeniable that cross talk has stimulated more people's attention and interest in traditional art forms to a certain extent, and has played a positive guiding role.
Although Mr. Guo Degang has made outstanding achievements in the field of cross talk and his reputation has spread all over the country, he has not stopped because of this, but is determined to devote himself to the development of Peking Opera art.
With the ringing of the New Year's bell in 2023, the Qilin Opera Society, founded by Mr. Guo Degang himself, has officially started the national Peking Opera tour!
The excitement of this Peking Opera feast is eye-catching, and the demand for tickets is in short supply, which is amazing, what kind of charm makes the audience show such a strong interest in the Peking Opera performances of the young performers? Looking back at the founding process of the Qilin Opera Society, we can understand the secret - that is Mr. Guo Degang's deep love and persistent pursuit of the art of Peking Opera.
When the career of Deyun Club was thriving, Mr. Guo Degang resolutely decided to devote himself to the field of Peking Opera and interpreted his admiration for traditional art with practical actions.
His original intention was not to compete with the Peking Opera industry for market share, but out of his love for this ancient art form, and hoped to contribute to the inheritance and development of Peking Opera through his unremitting efforts.
Compared with cross talk performances, Peking Opera is obviously at a disadvantage in terms of income and influence. However, even in the face of such a predicament, Mr. Guo Degang did not hesitate to devote a lot of time and energy to the career of Peking Opera.
He knows that in order to promote the prosperity and development of Peking Opera, it takes more hard work and hard work.
In fact, in recent years, the Peking Opera industry has received strong support from the national level, but the Qilin Opera Society, as a non-governmental organization, has not been able to fully enjoy these preferential policies.
This means that they must rely on their own strength to maintain their operations and find ways to make a profit, and imagine that it is not easy to stick to running a Peking Opera troupe in such a harsh environment.
Many people in the Peking Opera industry believe that although Mr. Guo Degang has made good friends with many famous Peking Opera artists and can sing Peking Opera on stage in person, due to the lack of professional training, his voice is unique and has a strong Bangzi charm, so the audience attracted is mainly cross talk lovers.
However, this is not enough to deny the importance of Mr. Guo Degang's integration of Peking Opera elements into cross talk, revealing the mystery of Peking Opera to the audience, and his active role in guiding the audience to understand Peking Opera.
In fact, according to the survey, a considerable number of the audience of the Qilin Drama Club came to listen to Guo Degang's wonderful performance. This undoubtedly reveals that although Guo Degang is not the most professional in the cultivation of Peking Opera skills, his infectious performance still wins the favor of many young people, who have become more and more passionate about traditional opera, and even willing to pay to watch it.
This undoubtedly proves that Guo Degang's enthusiasm for the cause of Peking Opera and his great contribution cannot be ignored!
After in-depth analysis, we can clearly find that there is a significant difference between the Peking Opera master Wang Peiyu and the cross talk master Guo Degang in terms of self-positioning and understanding of the artist.
First of all, Wang Peiyu calls herself an "artist" simply because she is engaged in art, but she does not think deeply about whether she has achieved outstanding achievements in her field and whether she has brought far-reaching influence to the industry.
This approach is in stark contrast to Guo's rigorous definition of the artist, who sees a true artist as having made remarkable achievements in a certain field, taking on the responsibility of inheriting tradition and pioneering innovation in order to lead the industry forward.
Secondly, although Guo Degang has reached an unrivaled height in the cross talk world, he has always maintained a humble attitude and regarded himself as an ordinary cross talk artist, far from reaching the realm of "artist".
This is not only reflected in his personal self-perception, but also in his attitude towards his disciples such as Yao Bi and other juniors: even after nine years, Guo Degang still sticks to his position that he is not an artist, while Wang Peiyu seems too conceited and hasty in his position.
In addition, Guo Degang and Wang Peiyu also have differences on the relationship between cross talk and Peking Opera. Some netizens pointed out that it was precisely because of their contact with cross talk that they became interested in Peking Opera.
This undoubtedly proves that cross talk has played a role in guiding and enlightening to a certain extent, opening the door to appreciate Peking Opera for the majority of audiences, however, Wang Peiyu does not agree with this view, she believes that cross talk is only an entertaining art form, and compared with Peking Opera, a traditional opera, its professionalism and artistic value are obviously inferior.
She said in an undisguised tone that Guo Degang is just a lover of Peking Opera obsessed with Peking Opera, not a person with professional qualities, and he cannot even shoulder the great responsibility of inheriting Peking Opera culture alone.
However, it is worth pondering that even in the eyes of Wang Peiyu, a professional, Guo Degang's contribution to Peking Opera is not weak, at least he skillfully integrated Peking Opera elements into cross talk performances, revealing the true face of this mysterious art form to the public, thus arousing the strong interest and endless attention of the audience.
In fact, Guo Degang's original intention to establish the Qilin Opera Society stemmed from his deep love for Peking Opera. When Deyun Club was at its peak, he resolutely chose to devote himself to the career of Peking Opera, and devoted countless time and effort to it.
In the face of a more severe business environment, he has always adhered to his original intention and has never wavered in the slightest.
Compared with the cross talk business, Peking Opera is undoubtedly at a significant disadvantage in terms of income and influence.
However, Guo Degang still resolutely shifted the focus of his career to the field of Peking Opera, which not only reflects his artistic pursuit, but also demonstrates his deep identification and firm belief in traditional culture.
Although Guo Degang's Peking Opera skills are not the top, his unremitting efforts and outstanding contributions have gradually won high recognition from the audience.
The young cast of the Kirin Drama Club has aroused an enthusiastic response from the market, and the audience has generously purchased tickets to watch it.
To a certain extent, this strongly proves that Guo Degang's cross talk career has not hindered his inheritance of Peking Opera culture, but has promoted more people to pay attention to and accept traditional arts to a certain extent.