On October 16, the China Broadcasting Arts Troupe posted a message through its official website Weibo. That is, the third intangible cultural heritage cross-talk conference, which will be held in Futian, Shenzhen from October 29 to November 1.
Once this news was released, it quickly attracted major media to reprint the report, after all, this is a huge event for the cross-talk circle to test the achievements of art.
Judging from the list of actors released by the China Broadcasting Art Troupe, there is no big difference from previous years, and basically all of them are cross-talk actors in the system.
The actors are basically official actors of state-owned units such as the Beijing Quyi Troupe, the China Radio Rap Troupe, and the Railway Cultural and Labor Troupe.
But by browsing the performance list, there are still a few points that are quite surprising!
First of all, many people find that the work unit of the cross-talk actor Miao Fu is quite surprising.
Because when it comes to Miaofu, many people think of the Qingqu Society. When you think of Qingqu Society, you will think that it is a private cross-talk group and has been highly recognized by the mainstream cross-talk community.
Even in the minds of many people, the Qingqu Society is the private cross-talk group that is most likely to compete with the Deyun Society in the future.
However, careful netizens found that the work units of Miao Fu and Wang Sheng in the propaganda posters were Xi'an Qu Art Troupe and Xi'an Qingqu Society, respectively.
That is to say, although Miao Fu is now the owner of the Qingqu Society, his working relationship is actually subordinate to the Xi'an Qu Art Troupe.
That is to say, he is no longer a private cross-talk artist, but a cross-talk actor within the system of the Eight Classics.
However, some time ago, the qingqu society xiangsheng jianghu store employees begged for salaries, and for a time it did have a very bad impact on Miao Fu himself.
Because the Qingqu Society, which has always prided itself on being a public-private partnership and has a booming business, has actually reached the point where it cannot pay wages, which is indeed quite surprising.
In addition, He Yunwei and Li Jing were also invited to participate, but unfortunately, although the two belong to the Beijing Qu Art Troupe, they are not partners, and they both prepare their own programs.
It has been rumored that since the two quit the Deyun Society, they have also been torn apart due to cooperation problems, and they have not performed on the same stage for a long time.
In addition, Deyun She and Guo Degang were absent from this non-heritage cross-talk conference without suspense.
Some time ago, with the establishment of the Deyun Drum Music Society, everyone saw what is the inheritance of music art. But it is a pity that Deyun Society has been absent from some activities hosted by the mainstream for a long time, and there is little exchange and cooperation between the two sides! Of course, there are many reasons for this situation.
First of all, deyun society's cross-talk has not been able to get rid of the vulgar label, which is the most disdainful place for many mainstream cross-talk peers.
Because in their view, the cross-talk of the Deyun Society has lowered the grade of cross-talk artists, ruined the reputation of cross-talk peers, and also ruined the reform results of the predecessors of cross-talk.
As a result, the Deyun Society has long been isolated and opposed by many cross-talk peers, and it seems that only when the Deyun Society abandons those vulgar things can it be accepted by its peers.
Secondly, the business model of Deyun Society breaks the long-standing unspoken rules of crosstalk.
For example, Deyun Society opened branches and opened commercial performances everywhere, which caused a serious impact on local cross-talk peers. In the eyes of many cross-talk peers, this is extremely unauthentic and is not conducive to cross-talk unity.
For example, Miao Fu of the Qingqu Society once said publicly: Many people all over the country have asked us to join and open branches, but they have been rejected. Because I think that is not authentic, and you can't just make money and ignore cross-talk unity.
Therefore, from the perspective of interests, Deyun Society has indeed touched the interests of some cross-talk peers.
But looking at today's audience market, why has Deyun Society achieved great success? Is it just because of vulgar crosstalk? I think otherwise, if it is so simple, why didn't there be a second Guo Degang?
Therefore, the success of Deyun Society must show that his business model and works are definitely more recognized and less opposed to the audience.
In contrast, the mainstream cross-talk community, which has always mastered the right to speak of cross-talk, has not focused on artistic creation and innovation, because they have not created any classic cross-talk works in recent years.
In other words, if the mainstream can create works that make the audience laugh with tears in their eyes and can be educated, The Deyun Society will inevitably be eliminated by the market.
Therefore, the cross-talk industry should be mutually inclusive, mutually learned, and innovative development will be achieved by learning from each other's strong points.
What do you think about that? Welcome to leave a message to communicate!