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In the Chinese cross talk industry, Deyun Club was like a rising star, attracting countless enthusiastic followers of "Deyun girls". Guo Degang has the grand dream of carrying forward the art of cross talk, and has devoted himself to building this cultural brand.
However, in recent years, the name of Deyun Club has frequently appeared on the hot search list, but it is always accompanied by negative news.
From Qin Xiaoxian and Sun Jiuxiang's arrogant behavior on the stage, to Chen Xiaohua's arrest for running naked while drunk, to Zhang Yunlei's touching on socially sensitive topics, the disciples of Deyun Club seem to be challenging the public's bottom line again and again.
What's even more embarrassing is that Cao Yunjin, who was once regarded as Guo Degang's protégé, has now left decisively, and even threatened to "never step into the door of Deyun Club again".
The stage of Deyun Club is glamorous, but when the spotlight goes out, the private lives of some artists are shocking. Zhang Jiunan, a former martial artist, brought his violent tendencies into marriage.
His ex-wife bravely came forward and exposed the shocking acts of domestic violence and infidelity. , a cross talk actor with witty remarks on stage, has staged a script of domestic violence and betrayal for several years and more than 20 times in his life.
What is even more jaw-dropping is Chen Xiaohua's absurd behavior. On a drunken night, he unexpectedly stripped naked in front of a friend's house and broke into the residence of a strange woman.
This kind of behavior not only violates public order and good customs, but also violates the bottom line of the law. In the end, he was taken compulsory measures by the police in accordance with the law, and paid a heavy price for his gaffe.
Deyun Club also had to announce the termination of the partnership with him in order to salvage the lost reputation.
Even on the stage, it is difficult for the artists of Deyun Club to maintain their due professionalism. In a high-profile performance, Qin Xiaoxian and Sun Jiuxiang's actions caused an uproar.
Before the performance began, Qin Xiaoxian was busy receiving gifts from fans and refused to go on stage. In the face of the audience's dissatisfaction, Sun Jiuxiang not only did not apologize, but responded with an arrogant attitude: "It's okay, if you don't want to appreciate it, please leave by yourself."
This kind of performance of no one in the eyes is contrary to the tenet of "learning art first and learning morality" that Deyun Club has always advocated.
These events are like a heavy punch, constantly hitting the image carefully created by Deyun Club. Guo Degang must be full of disappointment and helplessness in the face of these "unfilial disciples".
Deyun Club, which he was once proud of, has gradually lost the trust and respect of the public because of the behavior of these artists.
This kind of moral decline is not only a matter of personal conduct, but also a challenge to the management system of the entire Deyun Club. How to cultivate artistic talents while also paying attention to their moral cultivation? How to pursue commercial interests while also adhering to the moral bottom line of cross talk art? These are all problems that Deyun Club urgently needs to face and solve.
Otherwise, no amount of talent and jokes will be able to hide the bad effects of a lack of morality.
As a language art, cross talk should bring joy and inspiration to the audience. However, some artists in Deyun Club have aroused public outrage because of their inappropriate remarks, turning jokes into weapons for harm.
Zhang Yunlei, a cross talk actor known as the leader of the new generation of Deyun Club, performed at the 2018 Qingdao Spring Gala and became the focus of public criticism.
In the program "Great Longevity", he used words such as "the eldest sister got married in Tangshan, the second sister settled in Wenchuan, and the third sister Yushu returned" to joke about the areas that had suffered from earthquake disasters.
This kind of frivolous ridicule is undoubtedly a secondary injury to those who have lost their relatives and homes in the disaster. When these words came out of Zhang Yunlei's mouth, there may still be laughter in the audience, but more shock and discomfort.
However, Zhang Yunlei does not seem to have learned a lesson from the controversy. In a later performance, he even made a joke about the extremely sensitive historical topic of comfort women.
Such an act not only shows his ignorance of history, but also insults the comfort women and their families who have suffered. Although he later issued an apology, the apology, which was a year late, seemed more like a perfunctory act of pressure to the public.
In the face of these controversies, Deyun Club's handling of the matter was too weak. For Qin Xiaoxian and Sun Jiuxiang's misconduct, Deyun Club only gave a 21-day ban on performances.
These controversial remarks are like time bombs, constantly eroding the public goodwill that Deyun Club has accumulated over the years. Once, the audience expected Deyun Club to bring joy and laughter; And now, they're more of a source of controversy and disappointment.
As a traditional art form, the main audience of cross talk should include audiences of all ages. However, these inappropriate remarks show that some Deyun Club artists lack respect for the audience and awareness of social responsibility.
Guo Degang's ideal of cross talk seems to be being destroyed by his own disciples. How to maintain the vitality of cross talk art while ensuring that speech does not cross the line and does not hurt people has become a difficult problem that Deyun Club needs to solve urgently.
Otherwise, when cross talk can no longer make people laugh, but causes controversy and harm, the existence value of Deyun Club will be seriously questioned. While pursuing laughter, how to keep the bottom line of morality and law is a question that every Deyun Club artist needs to think about.
The crisis of Deyun Club not only comes from the misbehavior of the registered artists, but also from the loss of outstanding talents. Among them, the most striking is Cao Yunjin's departure.
As Guo Degang's proud protégé, Cao Yunjin's departure undoubtedly brought a heavy blow to Deyun Club.
After leaving Deyun Club, Cao Yunjin chose to display his talents on the emerging short video platform. With the profound skills accumulated in Deyun Club and the experience of many Spring Festival Gala performances, he quickly gained a large number of fans on Douyin.
This attempt also reflects the collision and integration between traditional cross talk and new media. However, success in business does not seem to bring happiness in private life. In 2019, Cao Yunjin publicly announced his divorce from his wife Tang Yun, which sparked widespread public speculation.
Compared with Cao Yunjin, He Yunwei's departure is more like a "betrayal". At the beginning of 2010, Guo Degang was in trouble because of a series of negative news, and Deyun Club had to temporarily close down.
At this difficult moment, He Yunwei chose to leave. Although this behavior is understandable from the perspective of personal development, it undoubtedly dealt a heavy blow to Deyun Club, which was in crisis.
The departure of these outstanding artists is not only the loss of talents, but also the loss of the cohesion of Deyun Club. Once upon a time, Deyun Club was known for its strong mentor-apprentice friendship, and artists were proud to join Deyun Club.
Today, that camaraderie seems to be being dismantled by a real conflict of interest.
In the face of this situation, Guo Degang's heart must be full of contradictions. On the one hand, he hopes to cultivate more cross talk talents; On the other hand, he had to bind these talents with strict contracts.
This contradiction may be the epitome of Deyun Club's current predicament.
How to maintain the authenticity of traditional cross talk art while giving artists enough room for development? How do you find a balance between commercial interests and artistic pursuits? These are all questions that Deyun Club needs to think about.
Otherwise, the trend of brain drain may continue, which will eventually lead to the loss of the core competitiveness of Deyun Club.
As the helmsman of Deyun Club, Guo Degang is facing unprecedented challenges. The rapid expansion of Deyun Club has brought huge business benefits, but it has also caused a series of management problems.
How to maintain the traditional essence of cross talk art while adapting to the needs of the modern entertainment market has become a difficult problem that Guo Degang must face.
The cultivation and restraint of disciples has become a double-edged sword. Although high liquidated damages can restrain artists' behavior to a certain extent, they may also stifle their creativity and development space.
This contradiction is particularly evident in the departure of Cao Yunjin and others. Cao Yunjin once publicly said that Deyun Club has too high requirements for his disciples' years in the club, and the liquidated damages are as high as one million, which makes him feel suffocated.
However, Guo Degang's approach is not entirely unreasonable. In the vanity fair of the entertainment industry, how to maintain the purity of cross talk art and how to prevent the hard-trained disciples from being poached by other companies are all problems that Guo Degang has to consider.
Despite this, Guo Degang still had some success. He successfully pushed his son Guo Qilin to the forefront of the entertainment industry, and Yue Yunpeng became a household name comedy star.
These successful cases seem to prove that Deyun Club's training model still has its unique advantages.
But can these individual success stories compensate for the losses in other areas? Is the overall reputation of Deyun Club being eroded by the misconduct of some artists? These problems are all things that Guo Degang must seriously face.
Between commercial interests and artistic pursuits, between strict management and free development, Guo Degang needs to find a delicate balance. This is not only about the future of Deyun Club, but also about the inheritance and development of traditional Chinese cross talk art.
How to reshape the relationship between master and apprentice in the new era, and how to keep the true nature of cross talk in the wave of commercialization, these are the directions that Guo Degang and Deyun Club need to continue to explore.
In the face of successive crises and challenges, the future trend of Deyun Club has attracted widespread attention. This is not only a question that Guo Degang needs to think about, but also about the inheritance and development of traditional Chinese cross talk art.
The public's expectations and doubts about Deyun Club coexist. On the one hand, the audience is eager to enjoy more excellent cross talk works and enjoy the joy brought by traditional art; On the other hand, people also put forward higher moral requirements for the words and deeds of Deyun Club artists.
How to find a balance between maintaining tradition and innovation has become a major challenge for Deyun Club.
To rebuild its reputation, Deyun needs to take a multi-pronged approach. First of all, it is imperative to strengthen the moral education and behavior management of artists to avoid the recurrence of vicious incidents like Zhang Yunlei and Chen Xiaohua.
Second, it is also urgent to establish a more reasonable personnel training and management mechanism, which should not only retain talents, but also give them enough space for development. Finally, it is equally important to innovate in the content of the program, not only to maintain the traditional charm of cross talk, but also to adapt to the aesthetic needs of modern audiences.
The future of Deyun Club is not only related to the success or failure of a business group, but also involves the inheritance of traditional Chinese culture. On this challenging road, Guo Degang and his Deyun Club still need to make more efforts.
They need to re-examine the position of cross talk art in contemporary society and think about how to revitalize this ancient art.
At the same time, Deyun Club must also face up to the opportunities and challenges brought by the social media era. How to use new media platforms to expand influence, and how to maintain positive interaction with fans while maintaining the image of artists, these are all problems that need to be solved urgently.
On the stage of cross talk, can there still be a long-lost laughter? Can Deyun Club regain the trust and love of the audience? Let's wait and see how Guo Degang and his disciples find a breakthrough in this crisis and rebuild the glory of Deyun Society.
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