Why can't Shanghai farce catch on?

Compared with the heyday of the last century, the current Shanghai burlesque and monologue are facing the increasingly diversified cultural needs of the audience and the increasingly fierce competition in the performance market, and their development has indeed entered a historical trough. It has become a fact that there are few excellent works, few large-scale performances and few top actors in Shanghai comic industry. In recent years, Yao Mushuang, Zhou Baichun, Yang Huasheng, Lv Yang and many other "double-character" artists have left one after another, which makes many viewers who love burlesque and monologues feel sad and worried.

The wheel of history rolls forward, and the river of history washes the sand with great waves. In fact, the internal and external environment of Shanghai burlesque and monologue has undergone "earth-shaking" changes. How easy is it to reproduce the wonderful glory of the comic book industry in those days?

There are many changes in the environment of the times. The first is the language carrier. The "Shanghai dialect crisis" faced by Shanghainese has brought great impact to Shanghai burlesque and monologue. Local opera and folk art can not be separated from local dialects, which is the relationship between water and fish. In recent years, Shanghai's one-man show has also been on CCTV, on the Spring Festival Evening, and even participated in some variety shows. However, once Shanghai dialect is abandoned, the effect will never come out. A survey shows that among junior and senior high school students in Shanghai, the proportion of family communication using Mandarin is much higher than that of Shanghai dialect. In the face of Shanghai teenagers who can basically understand but can't speak, the influence of burlesque and monologues is naturally declining.

Followed by the media. The development of mobile internet has completely changed the communication mode of Shanghai burlesque and monologue. Shanghai's one-man show was first spread by radio waves. Over the years, listening to cross talk and one-man show on the radio has become a habit of Shanghai people. Listening to the radio while eating dinner at home after school is the normal state of many post-70s and post-80s childhoods. Interestingly, turning on the radio has also become a classic of Shanghai one-man show. However, the popularity of mobile internet has brought unprecedented challenges to radio and television. It is conceivable that Shanghai burlesque and one-man show, which are highly dependent on radio and television, have been affected.

Thirdly, the content of the script. The "gimmicks" of Shanghai burlesque and monologues are not satisfactory. Similar to the "shaking the burden" of cross talk, the jokes thrown by Shanghai burlesque and monologue are called "making gimmicks" However, the speed of communication in the Internet era has greatly increased. In just a few hours, a news hotspot can trigger jokes made by many netizens. For example, this year's Rio Olympic Games taught people the funny skill of "the master is in the folk". This kind of communication speed is incomparable to the traditional farce and monologue script production methods. In the era when there is no network communication, the production of "Shantou" depends not only on the writers and actors themselves, but also on collecting materials from some ancient jokes, such as many jokes in Laughter in the Woods, which have been applied to one-man shows and become brilliant "Shantou". In today's network society, I'm afraid this situation won't happen again. In March of this year, 84-year-old farce playwright Zhou felt at an art seminar: "What if we can't catch up with the situation?" Even ordinary people are' funny' than your professional funny people. "

Finally, the team.