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The pace of the Spring Festival is getting closer and closer, but the CCTV Spring Festival Gala, which was once looked forward to by the people of the whole country, is now in an unprecedented predicament. In the past, on Chinese New Year's Eve, the whole family sat in front of the TV, eating fragrant dumplings and enjoying wonderful programs, and the happy scene seemed to be right in front of them.
However, with the change of times, this precious memory seems to be gradually fading.
The audience's entertainment methods are becoming more and more diversified, and the requirements for the quality of programs are becoming more and more demanding. Some actors who were once popular are now frequently on the list of "the least want to see it at the Spring Festival Gala".
What is the reason why this national feast has gradually lost its former charm? Let's uncover the story behind the stage of the Spring Festival Gala and explore why some audiences have begun to call for some "Spring Festival Gala regulars" to stop in moderation.
The stars on the stage of the Spring Festival Gala are shining, but they are also quietly changing. Veteran artists such as Chen Peisi and Zhu Shimao, as well as the unforgettable Zhao Lirong, who once made the audience laugh, are rarely seen on this stage now.
Their departure is like the end of an era, and it also leaves a rift that is difficult to fill for the Spring Festival Gala.
With their solid skills and unique performance styles, these artists have contributed countless classic works to the Spring Festival Gala. Zhao Lirong's "So Packaged" is still talked about today, and the lines are even more well-known.
Their performances not only make people laugh, but also provoke the audience to think, often containing profound social significance.
However, with the fading out of these familiar faces, a number of new faces have emerged on the stage of the Spring Festival Gala. These new generation of actors are young and energetic, bringing a fresh style of acting.
In this transformation process, there is a huge gap between the audience's expectations and reality. They crave performances that are both deep and innovative, but the reality is often not as good as they could be.
Although some of the new generation of actors have a bright appearance, they are slightly lacking in acting skills. This phenomenon sparked disappointment and criticism from the audience.
The organizers of the Spring Festival Gala are faced with a difficult choice: should they stick to tradition or be bold and innovative? Do you value the strength of the actors, or do you cater to the tastes of young audiences? These problems have become the core of the quality controversy of the Spring Festival Gala.
At the same time, audience expectations are constantly changing. They want to see more than just the faces of celebrities, but they want to see truly talented performances.
As one veteran viewer put it, "We don't need vases, we need works that make us laugh and make us think."
In this era of change, the Spring Festival Gala is faced with the challenge of how to balance tradition and innovation, and how to select and cultivate outstanding talents. This is not only about the future of the Spring Festival Gala, but also reflects the development dilemma of the entire cultural industry.
Perhaps the key to solving this problem lies in returning to the essence of art and paying attention to the strength of the actors and the connotation of the work. Only in this way can the Spring Festival Gala continue to shine in the new era and win the hearts of the audience again.
The Spring Festival Gala stage has witnessed the ups and downs of many actors, and the experiences of several of them are particularly eye-catching. Their stories are like a rollercoaster of ups and downs, from obscurity to fame, to controversy, reflecting the complexity of the Spring Festival Gala stage.
Sun Tao's road to the Spring Festival Gala is legendary. , a graduate of the People's Liberation Army Academy of Arts, became famous in one fell swoop in the 2009 Spring Festival Gala with a dialect version of "I am arrogant".
Since then, he has become a frequent visitor to the Spring Festival Gala and has appeared on this stage of national attention for 17 consecutive years. However, after becoming famous, Sun Tao seems to have fallen into a kind of self-replication dilemma.
Viewers have found that the iconic "I'm proud" will always appear in his show whenever and wherever he is. At first, the repetition can also elicit laughter, but as time goes on, the audience starts to get bored.
Sun Tao's performance style has gradually solidified, and the lack of innovation in the content has even been evaluated by some audiences as "a loophole in the Spring Festival Gala". His sketch "Father and Son" has been criticized for being detached from reality and lacking deep thinking.
Yue Yunpeng's story is more like a reversal of an inspirational legend. Born in poverty, he stepped onto the stage of the Spring Festival Gala with his unremitting efforts, and once became a representative of the grassroots counterattack.
However, after becoming famous, Yue Yunpeng seems to have lost his way. His level of cross talk has stagnated, and the quality of the program has deteriorated. In last year's Spring Festival Gala, his collaboration with Sun Yue on "My Changes" was complained by the audience that "I can't laugh", full of old jokes.
What's even more regrettable is that Yue Yunpeng frequently participated in variety shows after becoming famous, but he didn't have enough time to improve his cross talk skills. Some viewers questioned whether he had regarded the art of cross talk as a money-making tool and forgotten his original artistic pursuit.
Xie Na's road to the Spring Festival Gala is full of controversy. As a famous host, her joining should have brought new vitality to the Spring Festival Gala. However, her unique hosting style, which some people describe as "crazy", seems out of place on such a solemn occasion as the Spring Festival Gala.
When participating in the "I want to go to the Spring Festival Gala" program, she even suddenly took off her shoes and danced with the contestants during the recording, which caused her to be replaced in the second episode.
Xie Na's experience has triggered people's thinking about the selection criteria for the host of the Spring Festival Gala.
Perhaps the key to solving these problems lies in returning to the essence of art and encouraging actors to push themselves and create works that both provoke laughter and thought.
Only in this way can the Spring Festival Gala regain the hearts of the audience and reshape its status as a national cultural feast.
On the stage of the Spring Festival Gala, some once popular actors gradually fell into the dilemma of image solidification, and it was difficult to break through themselves, resulting in aesthetic fatigue among the audience.
This phenomenon not only affects the personal development of actors, but also directly relates to the improvement of the overall quality of the Spring Festival Gala.
Cai Ming's experience is a typical case. As a frequent visitor to the Spring Festival Gala, she once formed a "golden partner" with Guo Da, bringing countless joys to the audience. Their partnership relationship has even been hailed as "Cai does not leave Guo, Guo does not leave Cai", becoming one of the most famous groups in the Chinese entertainment industry.
However, as time passed, Cai Ming's image gradually solidified into a "venomous old lady". Despite her efforts to try different character settings, the audience seems to remember only this one image.
This solidification not only limits Cai Ming's artistic development space, but also makes the audience feel aesthetic fatigue. What's even more regrettable is that she also persistently pursues a young and beautiful image, which forms a strong contrast with the role she created on stage, which arouses questions from the audience.
Pan Changjiang's situation is similar to Cai Ming's. As Cai Ming's new partner, his role setting is too single, lacking changes and breakthroughs. This solidified performance style caused the audience to become bored with his performance.
Some viewers even bluntly expressed their "hate" to seeing him appear on the stage of the Spring Festival Gala.
Shen Teng's story is more complicated. He went from the unknown "Hao Jian" to the well-known "Shen Teng", and experienced the process from popularity to controversy. Shen Teng's humor and humor once made the audience love, but with the increase in exposure, some problems gradually emerged.
On the stage of the Spring Festival Gala, he forgot his words many times and made mistakes in his performance, but fortunately, with the help of his partner Ma Li, he was able to resolve the crisis. However, these mistakes may affect the smooth progress of the subsequent program and bring unnecessary risks to the whole party.
What's even more disappointing is that some of Shen Teng's practices in film promotion have sparked controversy. Some viewers reported that although he was listed as the leading actor in the movie, he actually only showed his face on the poster and did not really act.
This behavior is seen as a deception to the audience and damages his image in the eyes of the public. In addition, his attitude towards guests in variety shows has also been questioned, and sometimes he makes some inappropriate jokes.
The experiences of these actors reveal the common dilemma faced by the actors of the Spring Festival Gala: how to keep innovating while maintaining their personal characteristics? How do you find a balance between mass availability and high quality? How do you avoid falling into the cycle of self-replication? These issues are not only related to personal development, but also directly affect the overall quality of the Spring Festival Gala.
Solving these problems requires the actors to continue to self-reflect and make breakthroughs, and the Spring Festival Gala program team also needs to give more innovative space and support. Only by constantly innovating can we meet the increasing aesthetic needs of the audience and rekindle the charm of the Spring Festival Gala stage.
At the same time, actors should also realize that the real charm of art not only comes from acting skills, but also from a deep understanding of life and the persistent pursuit of art.
With the rapid development of society and the continuous improvement of the audience's aesthetic level, the Spring Festival Gala, which was once a national cultural feast, is now facing unprecedented challenges.
Problems such as the decline in the quality of the program, the lack of innovation, and the controversy over the performance of the actors have aroused dissatisfaction and criticism from the audience, and even made some people question whether the Spring Festival Gala can still represent a national-level literary and artistic festival.
Audience expectations have changed dramatically. They are no longer satisfied with simple jokes and pompous performances, but are eager to see shows that are both traditional and full of innovation.
They want to see great performances from truly talented actors, not just the faces of celebrities. As one veteran audience member put it, "We need something that makes us laugh and think."
However, there is a clear gap between reality and expectations. Some viewers lamented that they had worked hard for a year just to be able to relax and have fun during the New Year.
But if you have to be lectured while watching the show, it will undoubtedly make people feel uncomfortable. This feedback reflects that the Spring Festival Gala needs to be closer to the actual needs of the audience in terms of content and form.
These questions are not only about the future of the Spring Festival Gala, but also reflect the challenges facing the entire cultural industry. Finding a way to solve these problems may open up a new development path for the Spring Festival Gala and win the hearts of the audience again.
This requires the courage and wisdom of the Spring Festival Gala team, as well as the understanding and support of the audience. Only through continuous exploration and adjustment can the Spring Festival Gala be rejuvenated and continue to become a cultural link connecting the people of the whole country.
The Spring Festival Gala is facing unprecedented challenges. The increasing pressure on ratings, especially the lack of a holiday on Chinese New Year's Eve this year, has undoubtedly brought a greater test to the Spring Festival Gala.
At the same time, the changing tastes of the audience and the diversification of entertainment methods have also made this traditional program face the problem of how to maintain its attractiveness.
However, there are often opportunities in crisis. Reshaping the charm of the Spring Festival Gala requires courage and wisdom. This could mean being bold enough to bring in new talent and give talented young artists more opportunities to showcase.
At the same time, innovative programs are encouraged to break through the inherent model and present traditional culture in a way that is closer to modern life. Improve the level of program production, pay attention to the depth and quality of content, not just the pursuit of superficial excitement and joy.
The future of the Spring Festival Gala depends on whether it can adapt to the needs of audiences in the new era and whether it can continue to innovate while maintaining traditional characteristics. It's a tough process, but it's also hopeful.
Only by truly understanding and satisfying the needs of the audience can the Spring Festival Gala become a cultural feast of reunion of thousands of families and win the love and respect of the audience again.
Perhaps the future Spring Festival Gala will present a new look: it has both the charm of traditional programs and the vitality of modern elements; It can make people laugh and provoke deep thought; It not only shows the charm of stars, but also discovers new talents.
Only in this way can the Spring Festival Gala truly become a cultural link connecting tradition and modernity, connecting the people of the whole country, and continue to shine in the new era.
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