I can't understand other programs, but I can still understand a little bit of cross talk sketches, and the first feeling is that the actors are pretending to be stupid, rather than completely entering the play.
Some people have reported that when watching funny shows, the actors are not making people laugh, but like they can't make you laugh by using language, and they can only scratch your feet or armpits with their hands, which makes people get goosebumps.
In the Spring Festival Gala program every year, there are the most slots in the cross talk sketch language program, which cannot be attributed to the fact that the audience can understand this kind of program the most, nor can it be attributed only to the short time and the fact that it cannot be opened, and the production of the program itself and the actors' backstage homework and other issues cannot be ignored.
Speaking from the heart, the talent of some cross talk sketch actors is very admirable, and they have become popular without much systematic and professional study and training, and their performance ability has been highly recognized, which is indeed not easy. However, it is precisely the disrespect and perfunctory occupation hidden behind these admirable talents that make people even more unadmirable.
Suppose our ancestors lived in a small remote mountain village where our parents and fellow villagers lived. We rarely interact with the outside world, and the language and body movements we are used to communicating with each other will have obvious characteristics. When we watch TV series and movies, when we see the character above, we can find at first glance that he is not from our place. When our child goes out to school and stays away for a year before coming home, we can also find that he is already a little different from the people in our village.
When an actor wants to portray a character in our place, if the details are completely different from those of our locals, we will say "there is no life"; If an actor portrays a character like a child who comes back from school, we will say that they "don't have it right".
The purpose of requiring literary and artistic creation to have a life is to enable readers and viewers to grasp the character traits and the reasons for their formation more truly, accurately and comprehensively. Therefore, the author needs to experience life on the spot before creating. When the author does not have this experience, the work is often the same, and the reader and audience will feel bored after reading it.
The marketization of the literary and artistic industry requires that the works are short, flat and fast, just like broiler chickens, which must be released in dozens of days, otherwise there will be no profit. Native chickens have to be fed for a whole year, or even longer, although the unit price is a little higher, many people are not willing to invest, because the time is long, the risk is also large, and the probability of encountering chicken plague is higher.
Because of this, the overall quality of literary and artistic works is on a downward trend. The cold scene is worrisome, but the false prosperity is even more terrifying, and it can make some of the best traditional art industries disappear altogether without realizing it.
The creators and actors are all on the stage, in the studio, and at home, and the creative inspiration and materials are completely online, and no one has taken root in life, meditated, and patiently experienced. If this status quo does not change, it will be difficult to present high-quality works to the audience. The cross talk sketches of the Spring Festival Gala are like this, and which one is not like this?
Even from the perspective of the funny effect alone, the performance of cross talk sketches is not as good as that of talk shows. If it is more entertaining and educational or entertaining, and can make the audience think about some questions after watching it, then the two are basically the same, and the content is not high, but it is not all absent. Classic jokes like "Eight Screens" have never been seen at that level in recent years.
As for ** and dance programs, they are not suitable for marketization. It's not that this type of program needs a higher level of appreciation, but because we have been speaking since childhood, there are fewer barriers to appreciating language programs. But when we were kids, we didn't always play the piano and dance to school. **Dance programs need to cultivate the audience's appreciation ability first. Just rely on people who seem to understand something to lead the way, "Ah......Ahh......h"Not enough, otherwise, we'll follow" ah......"It's over, I still don't understand anything.
Not to talk about making money, no one is engaged in creation and performance. If you only talk about economic benefits, you will not be able to produce good works. This contradiction should be resolved in a way.