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Peach Blossom Eyes
Peach Blossom Eyes
Preface
Deyun Club's 2024 overseas tour in London, England came to an end, and Xinhua News Agency reported on it.
Deyun Society's official Weibo and Guo Degang himself forwarded it one after another, and they also deliberately labeled it as "cultural confidence".
Fans also touted their ability to do so, believing that this performance could not only make money, but also spread traditional culture and enhance cultural self-confidence.
However, when the author listened to Guo Degang's two cross talks in London, I couldn't help asking: Is this really spreading traditional culture? Or is it embarrassing?
Awkward performance effects and vulgar content
As early as 2023, during Deyun Club's tour of Australia and North America, many viewers complained that Guo Degang's cross talk was "too embarrassing", "boring", and "all of them are some indiscriminate jokes".
I thought that after a year, Deyun Society would learn a lesson and win the applause of the London audience with a more exquisite performance.
However, what is surprising is that not only has no progress in this performance, but still cannot escape the fate of "disappointment".
The whole cross talk is full of Guo Degang's signature broken jokes and cold jokes, which not only lacks the neatness and baggage design that traditional cross talk should have, but also lacks the sense of the times and connotation pursued by modern cross talk.
It can be said that this is more like a work of "four dislikes", which has neither traditional flavor nor modern novelty.
For "iron fans" who are familiar with Guo Degang, "Splashing Heaven and Wealth" may still be able to win a wry smile.
But for a wider audience, this kind of cross talk is not only unattractive, let alone spreading traditional culture.
We all know that cross talk, as a language art, has shouldered the dual mission of "making people laugh and teaching people to think" from the beginning of its birth.
The reason why the senior cross talk masters have been able to live for generations is precisely because they can give people wisdom and enlightenment and life insights in addition to jokes.
They use witty and humorous language to reveal the various social conditions, criticize the evils of the times, and inspire people.
This is the essence of cross talk.
On the other hand, Guo Degang's cross talk, although there is a lot of baggage, the content is empty and superficial, lacking the core of thought.
Coupled with his penchant for vulgar and meat jokes, which has already caused dissatisfaction among the audience, although it has been slightly restrained in London this time, the overall level is still unflattering.
Imagine, if our output of cross talk works is only a joke that makes people laugh, but loses its ideological connotation and philosophy of life, wouldn't it be a blasphemy against the art of cross talk? Isn't that degrading our cultural image? Cultural self-confidence is by no means self-flaunting and self-aggrandizement, but to win the respect of the world with high-quality content and elegant taste.
If Deyun Club does not improve the connotation of the work as soon as possible, I am afraid that it will not be far from "embarrassing".
Scolding peers and satirizing the system, this is traditional culture?
What's even more disgraceful is that in another paragraph of "The Technology of Art", Guo Degang reveals his uncomfortable "true face".
He not only openly complained about the shady scenes of the domestic cross talk competition, but also commented on his peers again, using unbearable words such as "disguised adult" and "no passport" to ridicule him.
This kind of personal attack is obviously beyond the scale of industry criticism, but is a vulgar and vulgar person.
Let's ask, wantonly slandering peers on the international stage, what is the relationship between the spirit of traditional Chinese cross talk art? This practice is undoubtedly destroying the Great Wall and damaging the image of the entire cross talk industry.
What's even more infuriating is that Guo Degang actually launched a completely negative attack on the rating system of the domestic entertainment industry.
In highly inflammatory rhetoric, he portrayed the rating system as a deformed mechanism that had nothing to do with art and looked only at leadership relationships.
And this set of arguments is simply the same as some public knowledge with ulterior motives.
As everyone knows, the establishment of any system has its practical needs, and it needs to be constantly improved in practice.
In the face of unsatisfactory points, what we need is a rational and pragmatic attitude, and what we need is positive and constructive suggestions, rather than total negation and beating to death with a stick.
It is true that the development of any industry will inevitably face such and such problems, and the literary and artistic circles are no exception.
Criticism with the right treatment, with a moderate amount of witty sarcasm, could have been a booster for the industry's progress.
The key is to grasp the heat and proportion.
Blindly venting dissatisfaction and blaming the entire system is tantamount to seeking fish from a tree and will not help solve the problem.
What's more, publicly publishing such remarks abroad will undoubtedly be used by some people with ulterior motives and maliciously amplified and interpreted.
The true meaning of cultural self-confidence is never self-proclaiming, but to win wide recognition from the international community with a solid foundation of works.
Behind the cruel irony is the embodiment of Guo Degang's lack of cultural consciousness and national self-confidence.
As a cultural celebrity with great influence, when expressing opinions on the international stage, you need to be more cautious and responsible.
Deyun Club frequently overturns, it's time to reflect
Objectively speaking, Deyun Club's overseas tours have always been controversial and the quality is worrying.
Especially last year's performance in North America was made a fuss and maliciously hyped by many people with ulterior motives.
This should have been an opportunity for Deyun Club to reflect on its own problems, but after a year, Guo Degang still repeated his old tricks in London, not only did not make any progress, but exposed his own problems at a glance.
All kinds of facts show that Deyun Club's eagerness for quick success and impetuous mentality have seriously affected the quality of cross talk, and they have also become the target of public criticism.
Needless to say, the footage of the London tour currently circulating on the Internet is by no means the essence of traditional Chinese cross talk art, let alone a cultural treasure worthy of showing to the world.
On the contrary, it is more like disgrace to the face of China's cross talk community, leaving a shallow and vulgar impression on the international community.
Let's ask, how can the cultural self-confidence we eagerly await be demonstrated by such works?
As the overlord of the cross talk industry, Guo Degang should lead by example and carry the banner of leading the healthy development of the industry.
However, judging from the dilemma of repeated overturns on overseas tours, he not only failed to fulfill his duties, but became the object of criticism by everyone.
In the cross talk industry, with both fame and fortune, Guo Degang should abandon his arrogance and complacency, humbly accept criticism from the audience, polish his works with a rigorous attitude, and pursue excellence with the spirit of excellence.
Only by constantly improving ourselves can we win the respect of the world with a higher cultural taste.
At the same time, Deyun Club should also reflect on itself, abandon the impetuous mentality of rushing for quick success, and devote more energy to the inheritance and innovation of cross talk art.
This is not only about the success or failure of Deyun Club, but also about whether Chinese cross talk art can win its due position on the world stage.
Cultural self-confidence is not an empty slogan, but one that needs to be defended and highlighted by our solid works.
It is expected that Deyun Club can get out of the predicament as soon as possible and take on the sacred mission of promoting the quintessence of the country with a more mature and wise attitude.
epilogue
Overseas tours should be a stage to promote national cultural self-confidence.
Unfortunately, Deyun Club's performance was disappointing.
Vulgarity, street scolding, and grandstanding all expose their eagerness for quick success and lack of cultural consciousness.
In the cross talk industry, Guo Degang should lead by example, inherit the classics and glorify the essence with high-quality works.
Only in this way can we live up to the reputation of "cultural self-confidence".
Otherwise, the so-called overseas tour will be a failed show at best, a farce of self-destruction of the image.
Let's hope that Deyun Club can get out of the misunderstanding as soon as possible and treat the cross talk business with a more rigorous and professional attitude.
Only by not forgetting the original intention and sticking to the art ethics can Chinese quyi usher in a more brilliant tomorrow!