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The performer that Bundi saw was dressed as a monk. First, he knelt on the ground and read a sutra to everyone with the help of Hiqu. Then the rich guests began to embarrass the “monk” intentionally and gave him Ordered four large wines, let him drink on the stage.
If the four big bars really drink in the stomach, it is estimated that they can hit 120 directly, but the monk must not drink, otherwise the guests below must be anxious. So after the monk had wiped off a tie, the rest was either poured on the head or poured into the crotch.
Why do you see Bai Kainan remember this past? Because Bai and the master acting in the disco are very similar in internal logic: I’ve been so bad at yourself, you can let me go / vote me.
Of course, it is not denied that this is indeed a method of producing performance effects, and even in a sense, it is in keeping with the “shame” culture that Japanese comedians have dug out of Japanese nationality. But Bai Kainan, who studied under comedian Feng Gong, laughed at the blogger in such a rude manner, and competed with the actors who represent the highest level in the country.
In fact, this is not only a problem unique to “Happy Comedians”. In recent years, China’s comedy stage has hardly escaped the turmoil of selling misery, forcing sensation, and suspected plagiarism, including the well-known “old drama “Bone” did not survive. For example, Guo Donglin’s sketch “Supermarket Interview” in the 2012 Spring Festival Gala almost copied the Japanese man talent group unjash’s sketch “Work Interview”.
Fong Gong is also eyeing the unjash “laughing fruit”. In the spring evening of 2015, Feng Gong’s sketch “Little Cotton Jacket” was pointed out by netizens for plot conflicts and plot settings that almost copied the unjas work “Buckwheat Noodle Shopkeeper and Fiance”.
This trend has reached a peak on the stage of the Spring Festival Gala this year: In addition to the pain points that content creators must experience, such as exhaustion of creativity and lack of creativity, people suddenly find that many works ca n’t even be “funny” < / strong> —— For example, Xie Na ’s sketch that occupies prime time this spring evening. This so-called sketch avoids all the advantages of language programs and occupies all the shortcomings. It is embarrassing for netizens to call “National audiences together, maybe The loudest laughter is Xie Na himself “-but this quite meets the requirements of” variety shows need to create a show atmosphere “.
(The standard of Xie Na’s Spring Festival Gala can be said to have taken the Spring Festival Gala to another level)
This whole paragraph collapsed also created a seasonal subcultural phenomenon in the special environment of the social network era:
A few days after the Spring Festival Gala every year, there will be a large number of articles that miss the previous Spring Festival Gala in the circle of friends. Everyone remembers the golden age of the comedy stage, Zhao Benshan, Song Dandan, Zhao Lirong, Feng Gong, Pan Changjiang, Guo Da, Cai Ming, etc. Waiting for the famous comedies to compete in battle, the evening party of that era can be described as the battle of the gods-and to the naked eye, with the “Northeast Renaissance” and “the spring breeze of reform blowing all over the ground” as nodes, the emergence cycle of this subcultural phenomenon is shortening— — In more fashionable terms, this is the “retaliation” of public sentiment .
Unfortunately, the decline is farThe scale is big.
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In the spring of 1995, Zhao Benshan said in front of a audience of hundreds of millions, “I haven’t learned anything else in this trip, and learned to pull eggs.”
(Revisiting this snippet now, in addition to a smile, I just want to say “niubi”)
The reason is obviously much more complicated. Especially when we pull through the timeline and look back at every important node of Chinese comedy, it is not difficult to find that the creators of comedy also seem to escape the fateful reincarnation.
In the New Year’s Eve of 2002, which was the Spring Festival Gala more than half a year after the accidental death of Liang Zuo, Jiang Kun dedicated one of his most ridiculous cross talks-“Wonderful Internet Student”.
The main content of this cross talk is online paragraphs, and there is no secondary creation at all, and it is directly adopted “I saw such a joke on the Internet, Let me tell you about this simple and crude pattern.
(Hey, I’m looking for Chow Yun Fat)
It was also after this Spring Festival Gala that everyone suddenly realized that Jiang Kun ’s 80-90s works that have been talked about so far are almost all related to Liang Zuo has a great relationship, and attributed the decline in the quality of comedy works represented by cross talks in those years to a very specific reason:
Liang Zuo is the man behind Jiang Kun. Chinese comedy is no longer possible because the talents of screenwriters are dying.
But it also brings a new proposition: If Liang Zuo continues to live, can Jiang Kun avoid falling?
It seems difficult to get an affirmative answer. The 80-90s of Jiang Kun’s fame was an era when all strata of society had not yet been so separated. Noble officials and traffickers might live in a building with their children I will also go to a school. Writers and screenwriters can freely observe and record the general public ’s sorrow and sorrow in daily life, which also provides a solid soil for comedians on the comedy stage.
But after more than ten years of rapid economic growth, social strata have begun to form in an uneven manner. First-tier and third-tier cities, county and rural areas, and urban interiors, There is a great divide and incomprehension. Coupled with the new information acquisition methods and communication methods that social networks have shaped for people, the once life scenes have been almost completely broken, and too many things in life scenes are undergoing a new interpretation process.
(who could think of the meaning of a vest at that time could have the mutation like today)
This “tears of the times” is more intuitive on the timeline of the Spring Festival Gala: The Spring Festival Gala of the last century is an unquestionable true god. After the millennium, its divinity began to be gradually deprived. By about 2005 With the voice of “Spring Festival Gala is getting more and more unsightly”, the attention of Spring Festival Gala around 2010 has finished rising again-the reason is that the popularity of social networks has brought sufficient technical support for secondary creation and is no longer high-quality The content has motivated the second creation-it has become a subculture carnival with profound generation gap.
The comedian cannot escape this cycle. Before and after the millennium, Jiang Kun was already a senior official of the Quxie Association. It was impossible for him to experience the dilemma of climbing the coal hills in the large courtyard and lifting the piano in the corridor, and it was naturally difficult to write something empathetic.
He tooI wanted to embrace the Internet, a new thing, and founded the Xunpeng Xiangsheng Network, but some things are gone, just like George Orwell wanted to experience the lives of the people at the bottom, but he betrayed him with an accent. When you become an elite, you can’t return to the grass roots.
It happened to Jiang Kun alone.
Across the peak of Zhao Benshan’s works, almost all of them reflect the collision, communication and conflict between urban farmers and urban elites under the process of urbanization in China. In his works, both the irony of the urban people and the cunning ignorance of the rural people are ridiculed, but the great thing is that the satired group will not be unhappy, but will laugh back and forth because it is true.
Zhao Benshan’s works from 1995 to 00 can be both comedy and drama, both funny and in depth. Even if you have memorized the lines, you can enjoy every action and Zhao Zhaoshan when you look back. Expressions (For example, in “New Year”, after hearing about Fan Wei’s improper head of the township, he immediately straightened his waist) .
But Zhao Benshan in the later period has gradually lost these essences. Although the later works are funny, but the laughter has passed away. There is no such elusive taste. In the last two years of the Spring Festival Gala, Zhao Benshan The subject matter has fallen into the trap of rural men and women.
If you have watched Zhao Benshan’s early TV series, you will also find that “Mrs. Ma”, “Liu Laogen” and the folksy universe that has been broadcast for hundreds of episodes have taken two paths. If the first two reflect the style of the times Then, the latter is more like a legend similar to Tao Hua Yuan Ji.
(Reviewing Marshal now, I will feel a little sad)
Although Zhao Benshan has always said that he is a peasant, but he can afford a private jet, and he is said to “look for Zhao Benshan after passing Shanshan Customs.” Rush with the countrysideWhat is sudden, so the folk love universe will look so exaggerated.
Feng Xiaogang, who was famous for his comedy as a small citizen, wanted to make a “Private Custom” according to the routine of “Party A and Party B” after a lapse of more than ten years. Comparing the two movies, Feng Tao in the private order lost Maicheng because he didn’t even know what the people in 2013 were thinking.
(an excellent piece of work that creates buzzwords)
Grasscomers came from grass roots to gain fame and fortune by using their own perceptions and observations. They broke away from grass roots and entered the elite class, but then lost the characteristics of grass roots and can no longer create grass-roots-loving works.
This may be an unsolved dilemma for comedians.
Can comedians welcome the next spring?
In fact, we have no reason to miss the old times. For example, when it comes to Zhao Benshan’s fortune, it is not difficult to find that this is actually a normal process of overrun and an unconventional process that violates the laws of the industry.
In 1987, Jiang Kun toured with a radio rap group. The audience was very enthusiastic in other places, but he got cold in Tieling. Later he asked the audience why he was unhappy. The audience said that you played far worse than Zhao Benshan. . After that, Jiang Kun and others watched Zhao Benshan’s performance deliberately. They were teased and joined together. Jiang Kun also recognized Zhao’s talent. After repeated recommendation, Zhao finally got the chance to be on the Spring Festival Gala.
Now we clearly agree that for any industry to develop healthily, there must be some essential core elements, such as a sufficient number of employees, a sound ascent channel, a reasonable talent training mechanism, and a corresponding good The market environment and so on, instead of man-made a chance.
So In theory, our age should be the golden age of comedy.
Of course, it may seem to many people that the golden age of comedy has indeed arrived. The number of Kuaishou and Douyin users in China has reached 400 million and 500 million respectively. In addition, there are stations B and so on, which have become the platforms for countless grassroots creators to speak.
Whether it is the simple and boring Zhu once, or the one known as one of the three Northeast Renaissance princes, one can play multiple roles with one person, and sooner or later will play the role of adult personality split, all completed in this era of Internet popularity Counterattack.
(fourth young man, performed several TV shows)
The social animals once saw themselves from Zhu, and the old quarters played a lot of clumps and clusters, with every move, like the men and women in our society everywhere. In short, there is not enough life experience, they do n’t May make such works. Some even think that the acting ability of the fourth child is much better than some traffic stars.
But can these so-called “comedy” really make a constructive change at the artistic level? Can it really enable the entire industry to find a new, healthy and sustainable way of living? This obviously brings more uncertainty. People ca n’t really count on “masters in folks” and then abandon the industrial system that has been accumulated linearly for many years. Build a “genius-type new base” from scratch. .
Perhaps only in the historical materialism can keep us optimistic: the people made history. Putting it on Chinese comedies, the party and the decline of elite comedians, It is not the decline of comedies, but the return of the creative rights of comedies from the temples to the rivers and lakes, from the elite to the people.