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In the cross talk world, a controversy over the form of performance swept like a storm. At issue is "hanging" – a form of performance that improvises and interacts with the audience.
Just as this controversy intensified, the respected cross talk actor Zhou Wei suddenly spoke out, and his remarks were like a thunderclap: "Cross talk can't be said like this, this is the rule set by the ancestors."
These words immediately caused an uproar in the industry. Supporters believe that "Hanging" has injected new vitality into cross talk and made the audience more engaged; Opponents insist on the purity of traditional art, arguing that this practice is contrary to the essence of cross talk.
This controversy is not only about performance skills, but also touches on the fundamentals of the art of cross talk. Do you stick to tradition or embrace innovation? What will be the future of cross talk? Let's walk into this heated debate about the soul of cross talk.
Zhou Wei's cross talk road is legendary. After graduating from the Northern Quyi School, with his love for crosstalk, he resolutely joined the Cultural and Art Troupe of the Political Department of the Second Artillery of the Chinese People's Liberation Army.
In the barracks, Zhou Wei not only exercised his will, but also honed his acting skills. Every time he takes the stage, he puts his heart and soul into it, and his eyes flashed with his dedication to art.
By chance, Zhou Wei was fortunate to worship under the cross talk master Tang Jiezhong. Under the guidance of Teacher Tang, Zhou Wei studied hungrily, for fear of missing any details.
He often practiced over and over again until late at night, just to get every movement and every look in place. This perseverance and hard work laid a solid foundation for his future success.
Later, Zhou Wei became a close disciple of the famous cross talk actor Jiang Kun. Under Jiang Kun's careful guidance, Zhou Wei's performance skills are even more powerful. He not only learned how to control the stage, but also comprehended the essence of cross talk art.
Every time he takes the stage, Zhou Wei can win the applause of the audience with a confident and calm attitude.
With a solid foundation and excellent performance, Zhou Wei's career is rising. He has appeared on the stage of CCTV's Spring Festival Gala many times, and has won many awards in various cross talk competitions and sketch competitions.
Every appearance impresses the audience. His performance style is unique, retaining the essence of traditional cross talk, but also incorporating his own innovative understanding.
Today, Zhou Wei has become the CEO of the Northern Performing Arts Group. Standing at the pinnacle of his career, his eyes still flashed with his original intention and love for the art of cross talk.
As a leader in the cross talk industry, every sentence of Zhou Wei can arouse widespread attention and discussion. He is not only an excellent performer, but also an influential industry leader.
Zhou Wei's road to success not only reflects his personal talent and efforts, but also reflects the development trajectory of cross talk art in contemporary society. From military literature and art to cross talk masters, and then to cultural enterprise managers, Zhou Wei's experience has witnessed the transformation of cross talk from traditional art to modern industry.
Such a background allows him to always put forward unique and weighty insights when discussing the development direction of cross talk.
In the cross talk world, the battle for "hanging" is like a war without gunpowder, dividing the entire industry into two distinct factions. This controversy not only involves performance skills, but also touches on the essence and future development direction of cross talk art.
The side that supports "hanging" has a sparkle of innovation in its eyes. They firmly believe that this kind of improvisational and interactive performance can inject new vitality into cross talk. In their view, the fundamental purpose of cross talk is to bring joy to the audience, and "hanging" can allow the audience to participate more deeply and enjoy a unique happy experience.
Proponents passionately defend that the art of cross talk should keep pace with the times, and "hanging" is the embodiment of this progress. They believe that this kind of interaction can not only increase the interest of the performance, but also make the cross talk more relevant to the tastes of contemporary audiences.
However, the opposition, represented by Zhou Wei and Li Jindou, has a completely different view on this. Zhou Wei said in a firm tone in a talk show: "You can't say this in cross talk, this is the rule set by the ancestors."
His eyes were filled with reverence for tradition. In Zhou Wei's view, "hanging" is contrary to the essence of cross talk, which may cause the performance to lose its original artistic charm.
Lee Kim Doo, who is also opposed, has publicly stated that he is never willing to interact with the audience in any way during his performances, as this would undermine the integrity and rigor of the artwork.
The focus of the debate is mainly focused on two aspects: first, whether "hanging" violates the tradition of cross talk; The second is whether it affects the artistic quality of cross talk. Opponents solemnly pointed out that over-reliance on "hanging" may lead cross talk actors to neglect the training of basic skills, and in the long run, it may reduce the artistic standard of the entire industry.
They are worried that if they allow "hanging" to prevail, cross talk may become a vulgar joke and lose its cultural connotation and artistic value.
The controversy was like a fierce confrontation, with both sides holding their own opinions and going toe-to-toe. There are sparks of innovation in the eyes of supporters, and they believe that "hanging now" can make cross talk more down-to-earth and more vigorous.
Opponents reveal their adherence to tradition, fearing that "hanging" will make cross talk lose its unique artistic charm.
It is worth noting that this controversy is not only taking place in the industry, but also attracting the attention and discussion of a wide audience. Some viewers said that "hanging now" made them feel the charm of cross talk and felt more involved; Some viewers also felt that too much improvisational interaction affected their experience of enjoying the complete work.
This controversy about "hanging" actually reflects the dilemma of cross talk art in the face of tradition and innovation, perseverance and change. It is not only about the present of cross talk, but also about its future development direction.
Regardless of the final outcome, this controversy itself is an important process of self-reflection in the art of cross talk.
The development process of cross talk can be called a microcosm of Chinese folk art. From the initial busking to the TV screen, the art of cross talk has undergone earth-shaking changes, and each transformation has profoundly affected the form and content of its performance.
In the early days, the life of cross talk artists was not easy. They roam the streets and alleys, relying on their witty and humorous eloquence in exchange for three meals a day. At that time, cross talk was more of a means of making a living than an art form in the strict sense.
The eyes of the artists are full of desire to survive, and they must improvise according to the audience's reaction, which is also the most primitive form of "hanging".
With the changes of the times, cross talk has gradually been included in the literary and artistic propaganda team. This is an important turning point, and the identity and status of cross talk artists have changed dramatically.
There was a sense of mission in their eyes, and their performances began to become more standardized and stylized. The cross talk of this period was more responsible for the task of praise and publicity.
"Ready-to-hang" is greatly weakened at this stage, as the content of the performance is often subject to strict scrutiny.
The rise of television media has once again changed the performance form of cross talk. The cross talk artists stood in the spotlight, and their expressions and movements were magnified in front of the audience.
This change has made the cross talk show more detail-oriented and more reliant on pre-prepared scripts. The recording of large-scale evening parties and TV programs requires cross talk actors to perform strictly according to the script, and the space for improvisation is further compressed.
From the street to the stage, from the stage to the screen, every transformation of cross talk is accompanied by the adjustment of the art form. Some people are happy with the improvement of the status of cross talk, and their eyes are shining with pride; There are also people who are worried that cross talk is losing its original flexibility and improvisation, and there is a bit of worry in their expressions.
This historical evolution also explains why mainstream cross talk actors like Zhou Wei tend to follow a stylized performance model and prefer the TV cross talk version.
They have experienced the transformation of cross talk from street art to mainstream culture, and they are well aware of the hardships and meanings behind this transformation.
However, as the times continue to evolve, so do the aesthetic needs of the audience. Some people are beginning to miss the original flexibility and interactivity of cross talk, which is one of the reasons why "Hang" has regained attention.
The historical evolution of cross talk not only reflects the development trajectory of this art itself, but also reflects the changes of the entire society and culture. In the face of new challenges, how to find a balance between inheritance and innovation in the art of cross talk has become a problem that every cross talk person needs to think about.
Although Zhou Wei's remarks are loud, they are not lacking in confusion when carefully scrutinized. These contradictions have aroused many doubts inside and outside the industry, and they also make people think about his real motives for criticizing "Xianhang".
First of all, Zhou Wei invoked the "ancestral rule" to oppose "hanging", but where did this so-called rule come from? When asked about the specific details, a trace of hesitation flashed in Zhou Wei's eyes, but he did not give a clear explanation.
This can't help but make people question, in that era when cross talk was just starting, would the founder really set such strict rules for future generations? After all, early cross talk artists were more about surviving than following a fixed performance pattern.
Secondly, Zhou Wei's attitude towards the master-apprentice system is also quite contradictory. On the one hand, he emphasized the need to observe tradition; On the other hand, he agreed to change the mentor-apprentice relationship to a teacher-student relationship.
This seemingly modern view seems somewhat alien to his adherence to tradition. When asked this question, Zhou Wei's expression was a little embarrassed, obviously difficult to justify.
What's even more confusing is that Zhou Wei himself had the experience of "jumping out of the door" - first worshipping Tang Jiezhong as a teacher, and then becoming Jiang Kun's disciple. In the cross talk world, the behavior of "jumping the door" has always been regarded as a sign of unruliness.
Zhou Wei's experience is contrary to the tradition of abiding by the tradition he advocates, and has aroused many doubts.
These contradictions made Zhou Wei's remarks lose some of their persuasiveness. People began to wonder what was his real motive for criticizing "Xianhang"? Is it a genuine commitment to tradition, or is it something else? Some speculate that this may be a kind of resistance of mainstream cross talk actors to the emerging form of performance; Others believe that this may reflect the competition between different genres.
In any case, these contradictions and doubts let us see the complexity within the cross talk world. It reminds us that when discussing the tradition and innovation of cross talk, we need to think more comprehensively and deeply, rather than simply following the words of a certain "authority".
Standing at the crossroads of cross talk art, we can't help but ask: where should the future of cross talk go? This question is not only about cross talk artists, but also affects the hearts of everyone who loves this art.
Looking back at the performance style of cross talk master Ma Sanli, we see the perfect combination of tradition and innovation. While sticking to tradition, Ma Sanli is also innovative.
His eyes always shine with wisdom, which can not only give full play to the essence of traditional cross talk, but also innovate in a timely manner according to the characteristics of the times. This balance may point us in the right direction.
The essence of cross talk is to bring joy to the audience, and this has never changed. Whether it is Zhou Wei or the artists who support "hanging", their goal is to make the audience laugh.
Perhaps, the focus of the debate should not be whether to "hang up", but how to keep it up to date while maintaining the essence of cross talk art.
Looking to the future, the art of cross talk needs to find a balance between tradition and innovation. It has to maintain the essence of tradition while adapting to the needs of a new generation of audiences. This requires the efforts of every cross talk artist, and they need to use their wisdom and enthusiasm to promote the development of cross talk art.
In this process, we look forward to seeing more people like Zhou Wei who dare to speak out, whose views may be controversial, but also promote the thinking and progress of the industry.
At the same time, we also look forward to seeing more innovative performances that may break the norm but also inject new life into cross talk.
The future of cross talk is shaping in the hands of every cross talk person. Whether it's sticking to tradition or being bold in innovation, the ultimate goal is to bring this ancient art to life in a new era.
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