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In 2006, a protracted debate was set off in China's cross talk circles. Jiang Kun, chairman of the China Quyi Artists Association, held high the banner of "anti-three customs" and called for cross talk to return to its elegant origin.
At the same time, the cutting-edge cross talk actor Guo Degang boldly declared that "I am the three vulgarities" and insisted on his own unique performance style. This controversy is like a bombshell, causing a strong shock in the cross talk circle and has lasted for more than ten years.
The-for-tat confrontation between the two cross talk masters not only touched the nerves of the entire cross talk world, but also triggered the public's in-depth thinking about the future direction of traditional art. What exactly caused the great disagreement between these two artists? What are the differences in their artistic philosophies? How will this protracted controversy affect the development direction of China's cross talk? Let's walk into this cross talk that spans ten years and explore the mysteries.
Jiang Kun's cross talk road can be called a wonderful legend. Born in 1950, he originally had nothing to do with the cross talk world. During the Corps period, Jiang Kun and Shi Shengjie met each other, and occasionally took the stage to say a few words of cross talk, which was purely an imitation of whims, and did not receive any professional training.
However, the gears of fate always turn inadvertently, and by chance, he met the cross talk master Ma Ji. This discerning senior took a fancy to Jiang Kun's potential at a glance and accepted him as a disciple, and since then Jiang Kun's brilliant cross talk career has begun.
Under the careful cultivation of Ma Ji, Jiang Kun eagerly absorbed the essence of cross talk art, and his performance level improved by leaps and bounds. Since 1979, he has frequently appeared in various CCTV programs and large-scale galas, and gradually established a distinctive artistic image in the hearts of the audience.
However, what really made Jiang Kun famous was the stage of the first CCTV Spring Festival Gala in 1983.
On the Chinese New Year's Eve of that year, Jiang Kun wore many hats, not only serving as the host, but also singing songs, and bringing two interesting comedy performances to the audience. Although one of the cross talks could not be broadcast in full due to time constraints, Jiang Kun's talent has been fully displayed and left a deep impression on the national audience.
Since then, Jiang Kun has formed an indissoluble bond with the Spring Festival Gala. He has appeared on the stage of the Spring Festival Gala for 11 consecutive years, of which 7 years have served as the host, becoming a well-deserved "frequent guest of the Spring Festival Gala".
On this high-profile stage, Jiang Kun created popular works such as "Reverie in the Tiger's Mouth", "Corridor Song" and "Elevator Adventure", and won the love of the audience with his unique sense of humor and keen social insight.
Jiang Kun's success lies not only in his excellent performance skills, but also in his persistent pursuit and continuous innovation in the art of cross talk. He brought cross talk from the streets and alleys to the living rooms of audiences across the country, injecting new vitality into this traditional art.
Jiang Kun's efforts have made the ancient art form of cross talk shine with dazzling brilliance in the new era, and has also made important contributions to the inheritance and development of traditional Chinese culture.
Jiang Kun's contribution is not only reflected in his superb performance, but also in his generosity in introducing outstanding artists to the stage of the Spring Festival Gala. Among them, the most commendable is his recommendation of Chen Peisi and Zhao Benshan, which not only changed the careers of the two artists, but also injected new vitality into the development of China's television entertainment industry.
In 1984, during the preparation of the Spring Festival Gala, Jiang Kunli overrode public opinion and strongly recommended his friend Chen Peisi to take the stage. It was in this year that Chen Peisi and his partner Zhu Shimao brought the audience the first sketch "Eating Noodles" in the history of the Spring Festival Gala.
This groundbreaking work not only made the national audience laugh, but also opened a new era of Spring Festival Gala sketches. Jiang Kun's insight not only added a touch of color to the Spring Festival Gala, but also opened up a new path for the development of Chinese TV comedies.
The recommendation of "Sketch King" Zhao Benshan originated from a seemingly ordinary trip to the Northeast. When Jiang Kun toured the Northeast, he keenly noticed that the local audience had little interest in other forms of performance, but was enthusiastic about Zhao Benshan's performance.
This contrast sparked Jiang Kun's curiosity, and he made a special trip to the theater to witness Zhao Benshan's complete performance.
After the performance, Jiang Kun took the initiative to come backstage regardless of his identity, identified himself to Zhao Benshan, and sincerely expressed his appreciation for his talent. It was this seemingly accidental encounter that became an important opportunity for Zhao Benshan to appear on the stage of the Spring Festival Gala.
Under Jiang Kun's recommendation, Zhao Benshan was able to show his talent in front of the national audience, and eventually grew into a well-known comedy star, writing his own legend on the Chinese comedy stage.
Jiang Kun's two recommendations not only changed the artistic careers of Chen Peisi and Zhao Benshan, but also injected new vitality into the Spring Festival Gala. The joy they brought to the audience is still talked about today.
And Chen Peisi and Zhao Benshan's gratitude to Jiang Kun has also continued to this day. Whenever Jiang Kun was mentioned, they would show their heartfelt respect and gratitude.
Jiang Kun's recommendation shows his broad mind and keen artistic insight. He did not hesitate to build a stage for younger generations, and made great contributions to the development of cross talk sketches and other forms of music.
This kind of selflessness is exactly what the art world needs. Jiang Kun's behavior not only promoted the development of Chinese comedy, but also set an example for an artist.
On the stage of the Spring Festival Gala, Jiang Kun, Chen Peisi and Zhao Benshan jointly provoked the beams and brought countless happy moments to the audience. Their talent and hard work have made the Spring Festival Gala an indispensable cultural symbol for the Chinese New Year.
Jiang Kun's role as a driving force in this is undoubtedly indispensable, and this achievement should not be misunderstood or forgotten.
In 2006, an initiative aimed at purifying the atmosphere of the cross talk industry unexpectedly caused a storm that lasted for more than ten years. Jiang Kun, chairman of the China Quyi Artists Association, put forward the slogan of "anti-three vulgarities", calling for a boycott of the phenomenon of "vulgarity, vulgarity, and kitsch", which was intended to bring a major innovation to the cross talk industry.
However, in the process of dissemination, this initiative gradually evolved into a fierce dispute between Jiang Kun and cutting-edge cross talk actor Guo Degang, which attracted widespread attention and discussion in the cross talk industry.
Jiang Kun, as a national artist, has always adhered to the artistic pursuit of "elegance and novelty". He resolutely resists vulgar jokes, abandons those clichés that have been eliminated by the times, focuses on improving his basic skills, and is committed to using cross talk art to pinpoint the disadvantages of the times and reveal social problems.
In Jiang Kun's view, cross talk should not only entertain the public, but also have the function of enlightening thoughts, and is an elegant art form that is appreciated by both the elegant and the vulgar.
In stark contrast to Jiang Kun's philosophy is Guo Degang's performance style. As a cross talk actor who rose from the folk, Guo Degang has experienced the struggle of entering Beijing three times and experiencing hardships.
His cross talk is full of a strong market atmosphere, often using "ethics" and some topics that are considered vulgar, although it can cause the audience to laugh, but it has also caused a lot of controversy.
Guo Degang boldly declared on the stage that "I am the three vulgarities", which formed a clear opposition to the "anti-three vulgarities" advocated by Jiang Kun.
This controversy reached its peak in 2008. A news about Jiang Kun's proposal to cancel the performance of the small theater was widely circulated among fans of Deyun Club, causing an uproar.
Although the news was eventually confirmed to be a rumor, Jiang Kun has become an "enemy" in the eyes of Deyun Club and its fans. In the face of this turmoil, Jiang Kun chose to remain silent.
Perhaps it is the belief that the clear will clear itself, or perhaps it is the fear that explanations will only worsen the situation. But his silence only intensified the controversy.
In fact, the difference between Jiang Kun and Guo Degang is not only due to the difference in performance style, but also due to the difference in their social status and living environment. As a national public official, Jiang Kun shoulders the important task of promoting the development of the entire quyi industry.
His focus is not limited to cross talk, but also includes drum books, storytelling and other genres. And Guo Degang, as a folk artist, is more about surviving and developing in the highly competitive market.
This controversy has lasted for more than ten years, and although there is no real winner, on the surface, Jiang Kun seems to be the one who loses the most. He was accused of insufficient basic skills, suppressing Guo Degang, not guaranteeing his late season, selling fame and reputation, only pursuing fame and fortune, and so on.
However, Jiang Kun has always maintained a tolerant and understanding attitude. He never commented negatively on Guo Degang, but expressed his expectations for his future development: "I sincerely wish him more outstanding achievements in the field he is good at, and continue to improve."
This controversy not only reflects two different artistic concepts, but also reflects the inheritance and innovation of traditional culture in modern society. The controversy between Jiang Kun and Guo Degang is actually a microcosm of a much larger social problem.
It has led to in-depth thinking about how traditional art can gain a foothold in modern society, how to attract young audiences, and how to balance artistry and entertainment.
Although the controversy continues, it is undeniable that both Jiang Kun and Guo Degang have made their own contributions to the development of Chinese cross talk. Their existence enriches the expression of the art of cross talk and provides diverse choices for different audience groups.
Outside the hustle and bustle of the stage, Jiang Kun's family life is also attention-grabbing. His relationship with his wife Li Jingmin can be called a good story in the cross talk world. The couple has walked through most of their lives hand in hand and experienced the ups and downs of life together.
However, this seemingly perfect marriage has also experienced turmoil. In 1998, Jiang Kun made a surprising decision: without his wife's consent, he adopted a boy from an orphanage and named him Jiang He.
This decision sparked a heated argument between the couple and became the biggest challenge in their married life for a time.
However, as time passed, Li Jingmin not only accepted Jiang He, but also gave him the same maternal love as he treated his own daughter Jiang Shan. This hard-won family finally found harmony in the inclusiveness of love.
Although Jiang He is smart and clever, he has little interest in his studies. Jiang Kun keenly noticed that his son was quite talented in acrobatics, so he fully supported him to embark on this path.
In 2003, Jiang He emerged in the National Children's Acrobatics Competition and successfully became a rising star in the industry.
In the 2004 Spring Festival Gala, Jiang Kun took Jiang He to perform on the same stage, and the tacit performance of the father and son amazed the audience. When Jiang Kun proudly introduced to his colleagues: "See? This is my son, Jiang He! We see the pride and relief of a loving father.
This warm family story shows Jiang Kun's soft side, and also allows people to see the responsibility and responsibility of this cross talk master as a husband and father. Outside the stage, Jiang Kun used his actions to interpret what real family warmth is.
The years are like a song, and the high-spirited young cross talk actor in the past is now an artist in his prime. Faced with the question of "why don't you create new works", Jiang Kun responded calmly: "I can't keep up with the pace of young people.
I wanted to try to sing a rap, but it turned out that one mouth became Allegro, and I learned quickly and forgot quickly, which is really more than enough but not enough. This honesty shows an artist's self-knowledge and respect for the changing times.
Regarding the grievances with Guo Degang, Jiang Kun chose a tolerant and understanding attitude. He realized that this was not just a personal contradiction between the two, but also a deep-seated social problem.
In his later years, Jiang Kun was still thinking about the future development direction of cross talk art. His experience and perception undoubtedly provide valuable inspiration for the inheritance and innovation of Chinese cross talk.
Jiang Kun's life journey, from a fledgling to a frequent visitor to the Spring Festival Gala, and then to the indifferent life in his later years, is not only the growth history of a cross talk artist, but also the epitome of the development of Chinese cross talk.
His achievements should not be misunderstood, but should be an example for future generations of artists to follow.
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