The cross talk industry started in July 2024. A group of cross talk actors came and went and set off a wave of bloody farce on the Internet. Although it received a huge amount of traffic in a short period of time, at the end of the day, it was nothing more than chicken feathers. .
As the crosstalk farce continues to be hyped, some crosstalk enthusiasts cannot stand it anymore and complain about why the Chinese Music Association does not stand up and take care of these crosstalk actors.
In fact, the China Music Association does not have this management authority, but at the appropriate time, the China Music Association and the China Federation of Literary and Art Circles, the parent unit of the Music Association, will still speak out and provide guidance.
On August 28, 2024, "Guangming Daily" published the full text of Han Shengli's article "The development of folk art should abandon the sectarian perspective" by Han Shengli of the China Federation of Literary and Art Circles Folk Art Center, which put forward guiding opinions on some of the current status of the folk art industry.
1. Objectively affirm the positive role of art schools and sects
Han Shengli first gave readers a popular science on how folk art schools and sects are formed. The
genre generally develops styles and techniques that are different from past artistic expressions through the exploration and innovation of artists with outstanding achievements, and is recognized and imitated by many practitioners, thus gathering a group of artists who are similar or similar in all aspects of art. Eventually an art genre was formed.
A sect is generally a master-to-teacher relationship formed by apprenticeship and apprenticeship. A family bond is established between masters, apprentices and brothers, and ultimately a pseudo-kinship relationship is formed, that is, a sect.
Whether it is an art school or a sect, it has played many positive roles in the development of folk art. A genre is the summary and evolution of art, while a sect can unite practitioners and improve the survivability of art. This is the reason for the existence and development of genres and sects. Raw power.
2. The negative effects of schools and sects
Everything has two sides. Although art schools and sects have obvious positive effects, Han Shengli’s article also pointed out that if art schools and sects are not used well, they may also become unfavorable factors for the development of art. .
If practitioners overemphasize genres, they will tie art to specific styles and techniques, making it difficult to break through their own artistic styles, resulting in the rigidity of art.
Some schools and sects have created a trap and demean each other, which is very detrimental to the progress and development of art. Some practitioners do not focus on art itself, but use schools and sects as tools and means to create topics and hype topics, which has played a negative role in the development of art and industry.
3. The fundamentals of the development of schools and sects
How can we give full play to the positive role of art schools and sects while suppressing their negative effects?
Han Shengli’s article pointed out that healthy schools and sects should promote the full development of artistic genres, themes, forms, and methods, and promote mutual learning of artistic concepts, content, and styles. Whether it is an art school or a sect, if it wants to continue to develop, it must have tangible artistic works and artistic practices, as well as high-level artistic representatives.
If there is a lack of quality and influential artistic practices and works, and there are no high-level artistic representatives, the so-called schools or sects will have empty names and lack vitality. When its own artistic performance characteristics disappear, the influence of schools and sects will be weakened or even extinct.
In a word, without the support of excellent works, all schools and sects are just castles in the air, lacking the meaning of real existence.
4. It has practical guiding significance for the cross talk industry
Han Shengli’s article finally hopes that the majority of folk art workers can abandon their sectarian views and learn from the strengths of others with an open mind.
It should be said that although the wording of this article is relatively euphemistic, it can indeed be seen that in a certain sense, this article can represent the Music Association's criticism and suggestions for the various farces in the folk art industry, especially the cross talk industry. In fact, This article does have practical guiding significance for the cross talk industry.
There are indeed some rigid thinking in artistic creation and performance in the cross talk industry. Some people overemphasize the so-called basic skills, some people talk about Guankou and Taiping lyrics all day long, and some people use various traditional performance routines to measure new performances. works, but they have seriously ignored the core skills of cross talk works, and at the same time they have also ignored the core elements and content of cross talk works.
If there is no popular content, if there is no theme with rich connotations, if there is no artistic expression in language, then crosstalk will not stand out from the garden of folk arts. In just over a hundred years, it has risen to the position of literary light cavalry and the pinnacle of folk arts.
We should respect the various artistic schools founded by the cross talk predecessors, but we must not trap cross talk on some outdated and rigid traditional standards, let alone use the so-called "visiting the graves of the ancestors of cross talk" to replace the cross talk that has been The dregs and dregs eliminated by the cross talk seniors were picked up and returned to the stage.
Some crosstalk actors have maliciously played on the issue of the crosstalk art genre, deliberately creating divisions and confrontations, dividing education and entertainment into two opposing relationships: "education" and "illustration and entertainment", and dividing people who appreciate both refined and popular tastes into "elegant" The two opposing relationships with "vulgarity" have destroyed the artistic atmosphere of the entire cross talk industry and misled many viewers. They have also caused devastating damage to the evaluation system of cross talk works.
At the same time, there is another serious and realistic problem in the cross talk industry, that is, some people have not only failed to abandon their sectarian views, but have further evolved this sectarian views into "alignment" and "split".
Some crosstalk practitioners divide the crosstalk industry into "mainstream" and "non-mainstream" on various occasions, instigating opposition in the entire industry, and even engage in the routine of "those who follow me will prosper and those who go against me will perish" in their own apprenticeship portals. , firmly binding company employees with the teacher-instructor relationship.
Influenced by some crosstalk practitioners, crosstalk audiences on the Internet have also lined up to belittle and attack each other. As long as it is the work of the other camp, no matter how excellent it is, it is garbage. As long as it is a crosstalk from one's own camp, even if it is crawling all over the stage, That's also an excellent cross talk.
In the cross talk industry, which is filled with all kinds of bad creative and performance orientations and serious oppositional emotions, it is naturally prone to all kinds of farce and chaos.
Han Shengli’s article clearly pointed out the problems existing in the folk art industry, especially the cross talk industry. Faced with these problems and the farce, some people in the cross talk industry should blush.
Competition in the cross talk industry is a good thing. Whoever wants to win at the end and laugh the best must produce truly excellent works.
The cross talk industry started in July 2024. A group of cross talk actors came and went and set off a wave of bloody farce on the Internet. Although it received a huge amount of traffic in a short period of time, at the end of the day, it was nothing more than chicken feathers. .
As the crosstalk farce continues to be hyped, some crosstalk enthusiasts cannot stand it anymore and complain about why the Chinese Music Association does not stand up and take care of these crosstalk actors.
In fact, the China Music Association does not have this management authority, but at the appropriate time, the China Music Association and the China Federation of Literary and Art Circles, the parent unit of the Music Association, will still speak out and provide guidance.
On August 28, 2024, "Guangming Daily" published the full text of Han Shengli's article "The development of folk art should abandon the sectarian perspective" by Han Shengli of the China Federation of Literary and Art Circles Folk Art Center, which put forward guiding opinions on some of the current status of the folk art industry.
1. Objectively affirm the positive role of art schools and sects
Han Shengli first gave readers a popular science on how folk art schools and sects are formed. The
genre generally develops styles and techniques that are different from past artistic expressions through the exploration and innovation of artists with outstanding achievements, and is recognized and imitated by many practitioners, thus gathering a group of artists who are similar or similar in all aspects of art. Eventually an art genre was formed.
A sect is generally a master-to-teacher relationship formed by apprenticeship and apprenticeship. A family bond is established between masters, apprentices and brothers, and ultimately a pseudo-kinship relationship is formed, that is, a sect.
Whether it is an art school or a sect, it has played many positive roles in the development of folk art. A genre is the summary and evolution of art, while a sect can unite practitioners and improve the survivability of art. This is the reason for the existence and development of genres and sects. Raw power.
2. The negative effects of schools and sects
Everything has two sides. Although art schools and sects have obvious positive effects, Han Shengli’s article also pointed out that if art schools and sects are not used well, they may also become unfavorable factors for the development of art. .
If practitioners overemphasize genres, they will tie art to specific styles and techniques, making it difficult to break through their own artistic styles, resulting in the rigidity of art.
Some schools and sects have created a trap and demean each other, which is very detrimental to the progress and development of art. Some practitioners do not focus on art itself, but use schools and sects as tools and means to create topics and hype topics, which has played a negative role in the development of art and industry.
3. The fundamentals of the development of schools and sects
How can we give full play to the positive role of art schools and sects while suppressing their negative effects?
Han Shengli’s article pointed out that healthy schools and sects should promote the full development of artistic genres, themes, forms, and methods, and promote mutual learning of artistic concepts, content, and styles. Whether it is an art school or a sect, if it wants to continue to develop, it must have tangible artistic works and artistic practices, as well as high-level artistic representatives.
If there is a lack of quality and influential artistic practices and works, and there are no high-level artistic representatives, the so-called schools or sects will have empty names and lack vitality. When its own artistic performance characteristics disappear, the influence of schools and sects will be weakened or even extinct.
In a word, without the support of excellent works, all schools and sects are just castles in the air, lacking the meaning of real existence.
4. It has practical guiding significance for the cross talk industry
Han Shengli’s article finally hopes that the majority of folk art workers can abandon their sectarian views and learn from the strengths of others with an open mind.
It should be said that although the wording of this article is relatively euphemistic, it can indeed be seen that in a certain sense, this article can represent the Music Association's criticism and suggestions for the various farces in the folk art industry, especially the cross talk industry. In fact, This article does have practical guiding significance for the cross talk industry.
There are indeed some rigid thinking in artistic creation and performance in the cross talk industry. Some people overemphasize the so-called basic skills, some people talk about Guankou and Taiping lyrics all day long, and some people use various traditional performance routines to measure new performances. works, but they have seriously ignored the core skills of cross talk works, and at the same time they have also ignored the core elements and content of cross talk works.
If there is no popular content, if there is no theme with rich connotations, if there is no artistic expression in language, then crosstalk will not stand out from the garden of folk arts. In just over a hundred years, it has risen to the position of literary light cavalry and the pinnacle of folk arts.
We should respect the various artistic schools founded by the cross talk predecessors, but we must not trap cross talk on some outdated and rigid traditional standards, let alone use the so-called "visiting the graves of the ancestors of cross talk" to replace the cross talk that has been The dregs and dregs eliminated by the cross talk seniors were picked up and returned to the stage.
Some crosstalk actors have maliciously played on the issue of the crosstalk art genre, deliberately creating divisions and confrontations, dividing education and entertainment into two opposing relationships: "education" and "illustration and entertainment", and dividing people who appreciate both refined and popular tastes into "elegant" The two opposing relationships with "vulgarity" have destroyed the artistic atmosphere of the entire cross talk industry and misled many viewers. They have also caused devastating damage to the evaluation system of cross talk works.
At the same time, there is another serious and realistic problem in the cross talk industry, that is, some people have not only failed to abandon their sectarian views, but have further evolved this sectarian views into "alignment" and "split".
Some crosstalk practitioners divide the crosstalk industry into "mainstream" and "non-mainstream" on various occasions, instigating opposition in the entire industry, and even engage in the routine of "those who follow me will prosper and those who go against me will perish" in their own apprenticeship portals. , firmly binding company employees with the teacher-instructor relationship.
Influenced by some crosstalk practitioners, crosstalk audiences on the Internet have also lined up to belittle and attack each other. As long as it is the work of the other camp, no matter how excellent it is, it is garbage. As long as it is a crosstalk from one's own camp, even if it is crawling all over the stage, That's also an excellent cross talk.
In the cross talk industry, which is filled with all kinds of bad creative and performance orientations and serious oppositional emotions, it is naturally prone to all kinds of farce and chaos.
Han Shengli’s article clearly pointed out the problems existing in the folk art industry, especially the cross talk industry. Faced with these problems and the farce, some people in the cross talk industry should blush.
Competition in the cross talk industry is a good thing. Whoever wants to win at the end and laugh the best must produce truly excellent works.