Who is the "real son" of the opera industry?
As the lights dimmed, the curtain of the stage opened, and a figure dressed in a gorgeous costume slowly stepped into the spotlight. At this moment, all eyes were focused on him, as if the whole world was quiet, only the melodious singing voice was echoing. But behind this gorgeous opera feast, there is a silent contest about the "leading figures".
Guo Degang, a name is thunderous in the cross talk and opera worlds. With his humorous and witty performance style and solid opera skills, he has won the love of countless audiences. However, in a recent selection of leading figures in opera organized by the Ministry of Culture and Tourism, this sought-after artist was unexpectedly defeated. Also surprising is the "Peking Opera Prodigy" Tao Yang, whose talent and hard work are obvious to all in the industry, but he also failed to stand out in this selection.
This selection seems to have stirred up a thousand waves with one stone, which has caused a lot of shock in the opera industry. What kind of artists can become the leading figures of opera? Is it the orthodox inheritors within the system, or the creative and energetic artists outside the system?
Wang Peiyu and Ling Ke, two Peking Opera masters in the system, were selected into the opera leader program without any suspense. Not only are they highly skilled, but they also have a deep artistic background and official recognition. In China, orthodoxy and the system are often closely linked, like a double-edged sword, which not only gives artists a stable platform and resources, but also restricts their freedom and innovation to a certain extent.
Guo Degang's defeat may be traced from his professional background. Although he has a lot of attainments in opera, cross talk is his main business. For him, singing may be more of a hobby and cross-border attempt, rather than a professional and in-depth study. But could that be the reason for his defeat?
Artists outside the system, like Guo Degang and Tao Yang, often have a degree of randomness and freedom that allows them to get closer to the audience and create more grounded works. But being outside the system also means that they may miss out on many official events and opportunities, and even after creating honors, those honors do not belong to them.
The development of Chinese quyi requires not only the standardization and inheritance within the system, but also the vitality and innovation outside the system. When actors outside the system can advance to various competitions and win awards, and when their works and performances can be more widely recognized and disseminated, this is the real progress of the Chinese opera industry.
For Guo Degang and Tao Yang, this selection may be a small setback, but the audience's recognition and support are far more important than any selection. Their artistic journey is still long, and more opportunities and possibilities await them in the future.
However, this is also the sadness of artists outside the system. They dedicate their lives to the arts, bringing joy and emotion to the audience, but often struggle to get the recognition and honor they deserve in the end. Is this a sad thing for the art world, or is it a question that we should reflect on?
In this era of rapid development, how to combine traditional art with modern society, and how to inject new elements and vitality while retaining the classics, is a question that every artist and audience should think about. Inside and outside the system, there should not be two worlds with clear boundaries, but communities that integrate and promote each other.
"Leader" is not only a title, but also a responsibility and responsibility. Whether inside or outside the system, there should be outstanding artists who stand up and lead the development and innovation of opera. And the audience should also give them more support and encouragement.
When the lights come on again, the figures on the stage may have changed batch after batch, but the charm and spirit of opera will never change. In this era of diversity, let us look forward to the emergence of more outstanding opera leaders to inject new vitality into this ancient art. As for Guo Degang and Tao Yang's defeat, it may be just a small episode on their artistic path, and there are more wonderful things waiting for them in the future. So, what do you think about this?