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In China's cross talk world, a silent revolution is quietly unfolding.
With the sudden rise of Deyun Club, the older generation of cross talk artists have retreated into the background, and a fierce contest between tradition and innovation is being staged. This change not only reveals the change of power in the cross talk industry, but also reflects the profound changes in the entire industry.
Let's walk into the story of Tang Aiguo and explore the fate of cross talk art in the new era.
Tang Aiguo's cross talk career began with a seemingly accidental but meaningful choice. In 1994, when the country was in turmoil, Tang Aiguo, who was only 13 years old, resolutely joined the Eighth Tank Division with enthusiasm for serving the country.
This decision not only changed the trajectory of his life, but also laid the groundwork for his future artistic career.
In the army, Tang Aiguo was not only a brave soldier, but also a talented propagandist. He twice went to the Paracel Islands and other front-line positions with the army, and used his talent to bring laughter to his comrades-in-arms.
It is in such an environment that Tang Aiguo and cross talk have formed an indissoluble bond.
With his love for cross talk, Tang Aiguo began to humbly ask his seniors for advice. By chance, he was fortunate to worship the cross talk master Jiang Kun as his teacher. Under Jiang Kun's strict and loving guidance, Tang Aiguo's cross talk skills are becoming more and more sophisticated.
He skillfully integrated his military experience into the creation of cross talk, and gradually formed a unique performance style.
Tang Aiguo's cross talk is not only humorous, but also full of patriotic feelings, and is deeply loved by his comrades-in-arms. His passionate performance and unique military perspective have injected new vitality into traditional cross talk.
As a result, he earned the affectionate nickname "Sugar Gourd Teacher", a nickname that not only speaks to his stage name, but also reflects the affection of his comrades-in-arms for him.
1994 was a turning point for Tang Aiguo. The cross talk "Lazy Sugar Gourd" jointly created by him and his partner Qi Liqiang immediately caused a sensation as soon as it was broadcast.
The audience was captivated by his unique performance style, and laughter and applause followed. Tang Aiguo's name began to spread all over the country, and he jumped from an ordinary soldier to a well-known cross talk master.
However, success did not make Tang Aiguo forget his original intention. He has always maintained the true character of a soldier, bringing the tenacity and courage that he has developed in the army to the stage. Whether facing the audience or facing the ups and downs of life, he maintains the calmness and calmness unique to a soldier.
From the barracks to the stage, Tang Aiguo's cross talk road is full of legends. With his efforts and talents, he not only achieved a gorgeous turn in his artistic career, but also injected new vitality into the Chinese cross talk industry.
This experience has become an inexhaustible source of his future creations, and has also laid a solid foundation for him to occupy a place in the cross talk industry.
Just when Tang Aiguo became famous, a new force quietly emerged in the cross talk industry - Deyun Club. This cross talk group founded by Guo Degang, with its unique performance style and content close to life, is like a clear stream, and quickly attracted the attention of a large number of young audiences.
Deyun Club's cross talk works are unique, they are not afraid to use some seemingly vulgar language and unexpected plot settings, but they just hit the laughter of contemporary audiences.
This bold and innovative attempt has injected new vitality into the traditional art of cross talk, and also opened up a new way for its inheritance in the new era.
However, the development of Deyun Club has not been smooth sailing. As the older generation such as Guo Degang and others gradually retreated into the background, the new generation of cross talk actors began to emerge.
Among them, the four disciples of "Yun Yu Jiuxiao", who was praised by Guo Degang as "peerless", quickly became the pillar of Deyun Club. They shined on stage and won the enthusiastic following of the audience.
However, behind success lies often a crisis. The power struggle within Deyun Club is becoming increasingly fierce, and the former "iron buddies" cannot escape the fate of falling apart.
The laughter on the stage can't hide the undercurrent behind the scenes. This internal contradiction not only affects the harmony of the team, but also affects the creation and performance quality of cross talk to a certain extent.
What's even more worrying is that as Deyun Club's fame grows, ticket prices have also risen. From the initial hundreds of yuan to thousands of yuan, such ticket prices have far exceeded the ability of ordinary audiences.
Cross talk, an art form that originally belonged to the public, seems to be becoming the exclusive entertainment of a few people.
This situation inevitably raises questions about it. Has Deyun Club deviated from the original intention of cross talk? Will the high ticket prices make cross talk, a popular art, lose its roots? These questions are not only related to the future of Deyun Club, but also to the development direction of the entire cross talk industry.
Faced with this situation, some of the marginalized old ministries began to look for other ways. Among them, the practice of former Deyun Club cross talk actor Cao Yunjin has attracted widespread attention. The cross talk club he founded not only competes with "Clouds and Cranes and Nine Skies" in terms of artistic level, but also maintains the ticket price at about 300 yuan, which rekindles the hope of ordinary audiences to watch cross talk.
This practice has undoubtedly injected new vitality into the healthy competition in the cross talk industry.
The rise of Deyun Club has not only brought innovation in cross talk art, but also caused many controversies.
This contest between tradition and innovation, art and commerce is profoundly changing the pattern of China's cross talk industry. It is not only the rise and fall of a group, but also the challenges and opportunities for the entire industry in the new era.
The future direction of Deyun Club may become a microcosm of the development of Chinese cross talk art.
In this earth-shaking change in the cross talk industry, the attitude of the older generation of cross talk artists has attracted widespread attention. As Tang Aiguo's mentor and also a champion in the cross talk industry, Jiang Kun's views on Deyun Club can be described as hitting the nail on the head.
Jiang Kun said with a worried face, and said in a firm tone that Deyun Club's cross talk works are low-level and vulgar, just like the bad habits of the old society, and they are far from the elegant artistic realm he has pursued all his life.
, a cross talk master who created many classic works during the reform and opening up, always insisted that cross talk should be appreciated by both the elegant and the vulgar, and the meaning was profound.
Looking back on Jiang Kun's glorious years, his cross talk works have led an era. Whenever he hosts the Spring Festival Gala, he can always detonate the laughter of the audience and push the audience's emotions to a climax.
His fast, almost error-free pace of speech is breathtaking. Jiang Kun's cross talk not only makes people laugh, but also makes people think deeply, reflecting his deep understanding and unique insights into this art.
However, the rise of Deyun seems to herald a change in aesthetic trends. Their works are closer to the lives of ordinary people, and they meet the needs of the audience in the new era with seemingly crude but down-to-earth language.
Although this style of performance has attracted a large number of audiences, it has also aroused dissatisfaction and concern among the older generation of artists like Jiang Kun.
This debate on the direction of the development of cross talk art actually reflects the tension between the mainstream and the new trend. It is not only a confrontation between two performance styles, but also a collision of two values.
Jiang Kun represents the tradition and style of cross talk, while Deyun Club represents the needs of the market and the audience.
The outcome of this controversy will greatly affect the future direction of cross talk art. It challenges every cross talk artist: how to find a balance between sticking to tradition and catering to the market? How to make cross talk not only maintain its cultural connotation, but also attract audiences in the new era? These issues are not only related to the development of cross talk, but also to the inheritance and innovation of the entire traditional culture in modern society.
With the prosperity of Deyun Club, many older generation of cross talk artists, including Tang Aiguo, have gradually faded out of public view. Tang Aiguo, who used to have unlimited scenery, now chooses to take the initiative to stay away from the hustle and bustle of the stage and enters retirement life ahead of schedule.
This choice not only reflects the wishes of individuals, but also reflects the profound changes that the entire cross talk industry is undergoing.
Looking at the performance of the new generation of cross talk actors on the stage, a complicated look flashed in Tang Aiguo's eyes. His once-sought-after and unique style seems unlikely to regain the same level of acclaim in this new era.
This sense of loneliness may be the common mood of many older generation of cross talk artists. They have witnessed the rise and fall of cross talk art, and they are also thinking about their position in this rapidly changing era.
However, the success of Deyun Club has also brought new problems. The overly commercial operating model has raised widespread skepticism. The high threshold and high ticket price mean that cross talk art will always be bound to a niche circle? This development model seems to run counter to the original intention of cross talk as a popular art.
Whether the rookies of Deyun Club can shoulder the heavy responsibility of inheriting and innovating the art of cross talk has become the focus of attention in the industry.
At the same time, emerging forces like Cao Yunjin are on the rise. They not only inherited the essence of traditional cross talk, but also tried to attract the audience in a more accessible way.
The cross talk club founded by Cao Yunjin can not only compete with Deyun Club in terms of artistic level, but also win the favor of the audience with its affordable ticket price. This practice undoubtedly provides new possibilities for the development of cross talk art, and also provides more choices for the audience.
This replacement of the old and the new in the cross talk industry is not only a change of personnel, but also a profound industry reshuffle. It tests how every cross talk artist can find a balance between inheritance and innovation, and how to seek a win-win situation between business and art.
The departure of the older generation of artists does not mean the disappearance of tradition, but the beginning of a new way of inheritance.
In this era of change, the art of cross talk is facing unprecedented challenges and opportunities. How to keep the essence of cross talk unchanged and keep pace with the times? How can we not lose the soul of art in the wave of commercialization? These questions need to be explored and answered by the new and old generations of cross talk artists.
The alternation of the old and the new in the cross talk world is not only a reshuffle, but also a rebirth. It indicates that this ancient art is meeting the challenges of the times with a new look, and also shows the arduous process of Chinese traditional culture seeking development in modern society.
Whether it is an old artist who has retreated into the background or an up-and-coming rookie, they are all contributing to the future of cross talk art.
Standing at the crossroads of the times, where is the future of cross talk art? This question not only affects the heart of every cross talk artist, but also relates to the survival and development of this traditional art in modern society.
Perhaps, the answer lies in this change of alternating between the old and the new. Tradition and innovation are not opposites, but complementary. The rich experience and persistence of the older generation of artists such as Tang Aiguo, Jiang Kun and others have laid a solid foundation for the art of cross talk; The innovation and attempts of the new generation of forces such as Deyun Club have injected new vitality into this ancient art.
The art of cross talk in the future should be diversified. It must not only retain the essence of traditional cross talk, but also keep pace with the times; It is necessary to pursue commercial success without losing sight of the essence of art.
This requires cross talk artists to innovate in inheritance and inheritance in innovation.
Whether it is a magnificent mainstream cross talk or a down-to-earth grassroots cross talk, they all interpret this art form full of historical charm in their own unique ways.
The future of cross talk art requires the efforts of every practitioner, as well as the support and understanding of the audience.
In this new era full of challenges and opportunities, the art of cross talk will continue to inherit the profound heritage of Chinese culture with a new look, and show its endless and enduring vitality.
It will find a balance between tradition and modernity, art and commerce, bringing more joy to the audience and contributing to the inheritance of traditional Chinese culture.
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