Hao Aimin's crosstalk is badly needed.

Recently, the New Year movie "Escape from Laughter" invested by Guangdong Song Zude Film and Television Company was shown in Guangzhou. The actors in the film, from the protagonists Hao Aimin, Li Zhiqiang and Li Jiacun to the supporting actors Liu Yuan and Guo Xiaoxiao, are all professionals in the field of phonology. Among them, the famous crosstalk performer and Mr Hou's disciple played a person who had the same experience as himself in the legendary swordsman. A few days ago, the reporter made a special trip to the hotel where Mr. Hao Aimin stayed and had an exclusive interview with the old gentleman. When talking about the present situation of the phonograph industry, the old man couldn't help but criticize some words and pointed out several major lesions. However, the old man is not pessimistic. He said that there are a number of young and middle-aged actors in the phonograph industry, such as Jiang Kun, Feng Gong and Li Jindou, which still have a bright future.

Lesions: Employees don't invest.

Reporter: On the day "Escape from Laughter" was broadcast, you mentioned some problems in the phonograph industry. Can you elaborate on the reasons for the "recession" of the phonograph industry?

Hao Aimin: First of all, the actors didn't devote themselves to their work. Some crosstalk performers do business, some do film and television actors, some sing, and few people do their own jobs. The decline of cross talk does not come from the audience, but from the cross talk itself, so it is very important to build a team and maintain a correct mentality. But now no one pays attention to it, and people in the industry don't want to say that cross talk has declined. It seems that after talking about decline, their status will be low, but this is objective and no one can avoid it. Also, creators don't write cross talk, comedy, film and television dramas. Liang Zuo once spent half a year in a crosstalk troupe and benefited from crosstalk. Instead of crosstalk, he wrote I Love My Family. Now many crosstalk writers have turned to sitcoms.

Reporter: This seems to be a common situation, not only cross talk, but also various local operas, acrobatics, dramas, ballet and folk arts.

Hao Aimin: Yes, when cross talk is not good, people in the industry will talk about acrobatics, Beijing opera and drama. Which line will do? There is a problem. What is the key? I think leaders should take 50% responsibility. In the past, we criticized "laymen leading experts", so now most of them are experts. I object to this. Excellent actors in the industry are leaders, with only shortcomings and no advantages. One of the shortcomings is that he neglected his major and had no time to ponder his performance. On the other hand, leadership is also a science and an art, which is different from his performance. He may not be able to do this.

Reporter: Now all industries are raising the issue of marketization. Local operas seem to be quite successful in this respect. They are all raising the issue of metropolitan cinemas. Can cross talk be used for reference?

Hao Aimin: Urban theater is not suitable for cross talk. Crosstalk is an art with strong mass, so it should go to the people and the ticket price should be reduced. Li Jindou held a small crosstalk theater in Dongcheng District Cultural Center for a weekend, and the ticket price was 20 yuan. I think it is a garden for cultivating cross talk audiences. Crosstalk is the art of small folk theaters, pubs and teahouses, and what we often call "dumping ground". It is an art that needs the joint creation of actors and audiences. If it is pushed to the gym and put on TV, it will be beneficial to its promotion, but it may not be conducive to its own promotion. The audience in the gym can't even see your face clearly. How do you communicate with actors?

Prescription: truly treat the audience as parents.

Reporter: But will crosstalk performers be willing to return to the state of "falling to the ground"? How to solve the income of actors?

Hao Aimin: Yes, everyone is talking about the market now. When they say that the market is to make money, they all have small abacus in their arms. The appearance fee for big singers is 300,000 yuan, while that for young singers is 60,000-80,000 yuan, while that for crosstalk performers is less than 5,000 yuan. In terms of appearance fees, a code should be issued, and a reward standard with high and low price limits should be formulated according to the category of art and the level of artists. Singers should not be allowed to overcharge and fail to keep up with the appearance fee.

Reporter: How is this standard set?

Hao Aimin: When the audience knows you, it's called the market. This is your value, but this value is not 200,000 yuan or 300,000 yuan, but 8,000 yuan, 6,000 yuan or 3,000 yuan. Now everyone says to serve the masses, but in fact, in private, they just ask the people for money. Singers from Hong Kong and Taiwan sang a few songs in the gym and took away millions. What is serving the masses? That is, you regard the audience as father and mother. If your parents and brothers sit in the audience, how much do you want from them?

Reporter: At present, there is no corresponding regulation in the market.

Hao Aimin: We must have an organizational constraint. All kinds of arts should have actors' unions to restrain actors. We can complain about him and let the union punish him. In addition, actors should also have a constraint on themselves and face the market according to their professional titles and abilities.

Outlook: Jiang Kun, Feng Gong and Li Jindou can still be saved.

Reporter: When it comes to crosstalk performers who don't follow the right path, it's quite like "avoiding laughter". Does this play accurately grasp the situation in the comic book industry?

Hao Aimin: Actually, this drama is not all about crosstalk, nor is it all about the current situation of crosstalk in the world. Mainly through the occupation of crosstalk performers to tell the relationship between mentoring and the love between the hero and heroine. I think this play is very good and fresh.

Reporter: You are an artist of the older generation. You played such a role in Escape from Laughter. Some people say that this drama is alluding to some current crosstalk performers, such as cattle. What do you think of young practitioners?

Hao Aimin: It's hard to say. Let me tell you something. In the past, when we were together, we compared "How many programs have you practiced recently" and then said "You practice your work for me and let me learn." Nowadays, when an actor touches a work, he must first look at his watch. "Hey, you Rolex, I'm Radar." Then ask, "What are you wearing?" "Pierre Cardin? I'll get one when I have time. " In the past, our master Hou always told us, "I am full of drama." Do you want it? " We quickly said, "Master, I want it!" Now I say, "I'll give you this half-hearted play." Do you want it? " People say, "Hey, my cell phone is ringing. Let's answer the phone first. " This is the status quo of the music industry. Can you not feel sad?

Reporter: But there are also people who are engaged in stereo? You just said that Li Jindou trains crosstalk audiences, and Feng Gong holds crosstalk training classes for Chinese operas. Isn't everything fine?

Hao Aimin: By the way, we should not be too pessimistic, but we should also be optimistic. When Jiang Kun, Li Jindou, Feng Gong and other young and middle-aged actors stand out in the phonograph industry, there is still hope. You must write this for me.