User:Miss Dai/sandbox

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Deyunshe
Company typePrivate
IndustryEntertainment
Headquarters
Beijing
Area served
Worldwide
Key people
Guo Degang, Yu Qian
Members117

Beijing Deyunshe Culture Communication Co., Ltd. set up in 1995, commonly known as Deyunshe, is a Chinese xiangsheng organization based in Beijing, established in 1995. Formerly known as the Beijing Conversation Conference.[1], in 2003 changed its name to Deyunshe[1]. It is the key to "let the cross talk back to the theatre"[2]. On July 3, 2011, Deyunshe inaugurated a new form in the North Exhibition Theatre, by using the dialects dramas and comic dialogues to interpret the cross talks of various styles from the Qing Dynasty to the Republic of China[3].

"Deyunshe" is a folk art performance group that promotes the Chinese national culture, cultivates the talents of the arts and serves the public. The association was originally founded by famous comic actor Zhang Wenshun, Degang Guo and Li Jing in 1995. After twenty-three years of arduous work, Mr Guo Degang and many new and experienced comic actors have made unremitting efforts[1]. Deyunshe is gradually moving towards brightness.

Kuaiban in the show


Performance form[edit]

The performance form of Deyunshe is xiangsheng(Chinese Cross-talk) which is originally meant to stimulate others, but it has been standardised by the form of rhyming techniques such as the vocalisation of the mouth during the Qingxianfeng and Tongzhi years[4] in North China.

A brief intro to the Origin of Xiangsheng[edit]

Xiangsheng is a form of art that causes the audience to laugh by telling a joke or a funny question and answer[3] and were fully developed during the Qing Dynasty (1636-1911), which enjoyed great popularity, especially in the lower social classes[1]. Based on its entertainment value and huge public appeal, Xiangsheng, together with other Chinese local performing arts[4], was used by the CPC as a practical tool to disseminate socialist education in response to the conditions of social change after the founding of the Republic of China [5]. In the early years of the Republic of China, Xiangsheng gradually evolved from a person's vocal skills to a single-mouth joke[3], and the name was transformed into a cross-talk. Afterwards, it gradually developed into a monologue comic talk, a counterpart comic dialogue, and a group of cross talks, which became a veritable cross-talk[6]. After years of development, the counterpart comic dialogue has finally become the general form of cross talk[3].

Representative figure of Xiangsheng[edit]

  • Zhu Shaowen was a native of Shaoxing, Zhejiang, he lived in Beijing and was a member of the Han Army. He was a Chinese modern artist and the founder of xiangsheng.
  • Hou Baolin(1917-1993) was a groundbreaking master of the Xiangsheng industry. He was a cross-talking artist who was good at imitating various dialects and drama performances[7].
  • Guo Degang is the representative of modern Xiangsheng[1], who also is the leader of Deyunshe.

Stage property[edit]

  • Kuaiban is a traditional rap art, belonging to the Chinese genre rhyme[8] and Allegro is one of the stage properties for performance in the Xiangsheng.
  • Changshan is a man wearing traditional Chinese costumes[8]. The Xiangsheng performer of Deyunshe usually wear the Changshan for performances.
    Performers wearing Changshan


Development path[edit]

Career downturn[edit]

In the mid-1990s, Chinese cross-talk art went into a trough, and many comic actors went to the film industry to pan for gold[9]. Performing Xiangsheng does not make money, and it is a laborious and unrewarding profession[10]. An important reason for the decline in crosstalk is that the crosstalk performance on TV, the main media for broadcast crosstalk performance at the time[2], due to the restriction of the program and the lack of reasonable skills and keen observation of real life for many performers, the cross talk is monotonous[2]. Mr. Guo Degang, in his twenties, believes that cross-talk art needs to return to the theater to survive and develop.[1] Folk art is inextricably linked to the soil of survival and development, and comedians must approach the audience to gain an interaction.[2] On the one hand, Mr. Guo organized the Beijing Conversation Conference with the support of a group of “literary generations” of old artists[2], on the other hand, he began to excavate more than 600 pieces of literary programs that were lost[5]. In order to retrieve the lost audience, Deyunshe presented uncensored performances that approached the real life of the audience and often satirized argumentative and sensitive issues in the small theatre[1].

Maturity[edit]

In the fifteen years, from the Workers' Club to the Zhonghe Theatre; from Guangde Building to Tianqiao Le Tea Garden. Mr Guo Degang and Zhang Wenshun (deceased), Li Jing, Wang Wenlin, Yu Qian and other actors from the Deyunshe not only created the brand of “Beijing Conversation Conference[2]” with painstaking efforts and sweat, but also cultivated outstanding young actors such as He Yunwei, Cao Yunjin, Liu Yuntian (Liu Yi), Qi Yunping, Kong Yunlong, Yue Yunpeng, Zhang Yunlei, Li Yunjie[11]. Guo Degang's persistence and wisdom in the art of cross talk has also added new hope to the revitalization of comic art[10]. In addition to Xiangsheng shows, Deyunshe has invested in a number of comic TV series and movies, the role of which is principally played by the actors of Deyunshe, in order to sustain and augment the hard-won reputation[2]. On April 15, 2013, Beijing Deyunshe held a reception in Melbourne and officially announced the establishment of the Deyunshe Melbourne Branch[2]. This is the first branch of the Chinese cross-talk society established overseas.

Shut down and rectify[edit]

In 2010, Deyunshe ushered in the biggest crisis since its establishment. On the evening of August 6, 2010, Guo Degang’s disciples beat the reporter’s incident and triggered discussion again[12]. Deyunshe’s statement on the official website stated that it would stop the internal investigation. The following is the Deyunshe statement (with abridged):

"It is decided to suspend the regular performances of all the small theatres (Beijing Deyunshe Theater, Deyunshe Sanlitun Theatre, Zhangyiyuan Tianqiao Teahouse, Guangdelou Theater) from August 9, 2010 (Monday). Check and carry out internal rectification. The specific performance recovery time will be announced separately according to the actual situation."[12]

Many Xiangsheng actors oppose the huge market share of Deyunshe in the Xiangsheng performance industry[2], they believe that Deyunshe's success has taken away their audience and made their performance despised. They believe that if Deyunshe is defeat, then their show will become very popular. The pressure of Deyun Society was formed under their struggles, and some media began to ban the exhibition of Deyunshe[1]. In addition, the defects of the internal management of Deyun have also surfaced, because of the withdraw of four capable Xiangsheng actors[2].

Reopen[edit]

In order to solve the problems faced, Deyun took measures from two aspects[2]. First of all, Deyun changed the content of their performances, from some vulgar content to a meaningful performance component, and dealt with some scandals released from Deyun to the society[2]. The second is to establish a modern enterprise management system in Deyun[1]. In other words, Deyun's management improvement from the relationship between mentoring and fraternity is mainly managed by the labor contract employment relationship[2]. In the second decade of the 21st century, the growth of Deyunshe has entered a steady track[3]. It has developed from a commercial performance team to a service company, not only for Xiangsheng performances but also for various business projects[2].

On the evening of September 12th, Deyunshe who had stopped performing self-examination, reopened the door to welcome the audience[2], Guo Degang led all members of Deyunshe to appear at the Beijing Deyunshe Theater. Up to now, Deyunshe has been in operation for 20 years, and Deyunshe's development has also provided useful experience for commercial crosstalk performance groups[2].

Theatre[edit]

Tianqiao theatre[edit]

Beijing Deyunshe Theater is located in the birthplace of Beijing-style folk art----Tianqiao[13]. It was built from the Tianle Theatre, which was built in 1933. It has a construction area of nearly 1,000 square meters and can accommodate 300 spectators at the same time. The performances of traditional art comics and drums are performed by Deyunshe.   

Tianqiao Theater is divided into five parts: cultural square, lobby, auditorium, stage and actor apartment from east to west. The theatre not only has high-tech stage lighting, sound and stage machinery but also has an automation system, security monitoring and comfort[14]. The theatre auditorium is divided into three levels. There are VIP lounges on the first and second floors and a private lounge on the third floor. The third floor is also equipped with a function room for 50 people. It is suitable for small press conferences and receptions, celebrations, ceremony, etc. Most of the theatre's lighting and audio equipment is made in the United States and Germany, suitable for a variety of performance requirements[15]. The third floor of the theatre is a special restaurant for the performance group, and also provides convenience for celebrations, conferences and receptions. The interior of the theatre is divided into three parts: the front hall, the auditorium and the VIP lounge. The lobby is a lobby with a three-story marble building, and the zenith is made of double-layered glass. The auditorium is divided into three floors, with a total of 1215 soft seats and 719 seats. The second floor is a terrace box with 9 boxes and 159 seats[14]. There are 337 seats on the third floor.

Zhangyiyuan Tianqiao Teahouse[edit]

Zhangyiyuan Tianqiao Teahouse is located in the former site of the old Beijing New World Amusement Park and opposite the Oriental Hotel. The geographical position is superior and the transportation is convenient. The overall style is an antique building with an area of about 500 square meters and can accommodate more than 200 people. The interior is decorated in an antique style with traditional culture. While enjoying tea and leisure here, people can also enjoy Laotianqiao folklore performances such as storytelling, opera, acrobatics and Xiangsheng. Every weekend, Deyunshe will perform Xiangsheng here[16].

Sanlitun Theatre[edit]

The Sanlitun Theater was formed under the influence of the old Tianqiao. It is located in Sanlitun, opposite the Yaxiu Market, and adjacent to Sanlitun SOHO in the east, with a business area of 6,000 square meters[17].

The first-floor design: the theatre adopts Ming and Qing architectural styles, blue brick paving, surrounded by carved beams and high hanging antique lanterns.

The second-floor design: there are nine private rooms on the second floor. The nine private rooms are designed according to the old Beijing's forty-nine city gates. The blue bricks and slabs on the city gates are designed and built, and the eaves are explored. Nine gates corresponding to nine private rooms, each representing different meanings[17].

Works[edit]

Deyunshe’s Xiangsheng works are based on sensitive and controversial social issues[1], such as cruel competition in the job market, rising unemployment and intellectual property. The following are several masterpieces of Deyunshe:

Wo Shi Hei She Hui[edit]

"Wo Shi Hei She Hui" is one of the representative works of the "I" series of the cross talk series of Deyunhse[1]. In the performance, Guo Degang shaped himself into a small person, and all kinds of unreliable things happened to him[1] and he organised a team of laid-off workers and disabled people to perform this work. This work reflects gang violence and crime in society[18].

Wo Yao Nao Fei Wen[edit]

This work reflects piracy and intellectual property infringement in contemporary Chinese academic and cultural circles[18].

Wo YO Shang Chun Wan[edit]

In this work, the performer Guo Degang exposed the increasingly exacerbate employment situation and "hidden rules" in the entertainment industry[1]. The actors commented on the fierce competition in the Chinese job market through comedy[18].

Main members[edit]

Deyunshe key actor[edit]

Deyunshe performance team 1[edit]

Qi Yunping[11] (Captain), Gao Feng, Qi Guoqiang, Guan Hebai, Wang Yuyue, Li Yiyang, Deng Deyong, Gao Yibei, Hou Yulou, Lang Yichen, Zhang Jiulin, Han Jiuming, Wang Bihui, Zhang Fan, Liu Wei.

Deyunshe Performance Team 2[edit]

Li Hedong[11] (Captain), Liu Wei, Qi Hejun, Shang Yiju, Zhu Hesong, Li Jiuzhong, Zhang Hejian, Shang Jiuxi, He Jiuhua, Chen Jiufu, Du Helai, Zheng Jiulian, Wu Hechen.

Deyunshe Performance Team 3[edit]

Kong Yunlong[11] (Captain), Li Yunjie, Zhang Jiunan, Gao Jiucheng, Wang Lei, Zhang Hejun, Zhang Jiuling, Wang Jiulong, Tao Yunsheng, Xu Ge, Zhao Nan, Yu Yuhuai.

Deyunshe Performance Team 4[edit]

Qi Hexiang[11] (Captain), Li Yuntian, Feng Zhaoyang, Yang Hetong, Shi Aidong, Guo Qilin (less class owners), Song Yiran, Mei Jiuliang, Zhang Hewen, Chen Jiupin.

References[edit]

  1. ^ a b c d e f g h i j k l m n o p Cai, Shenshen (2016). "A Culture Hero: Xiangsheng (Crosstalk) Performer Guo Degang". Asian Theatre Journal. 33 (1): 82–103. doi:10.1353/atj.2016.0000. ISSN 1527-2109. S2CID 147358562.
  2. ^ a b c d e f g h i j k l m n o p Yan, Mengzhao; Zhu, Fengkai; Li, Shumin (June 2016). "A discussion on effective development path of commercialized crosstalk performing groups: A case study on Deyunshe". 2016 13th International Conference on Service Systems and Service Management (ICSSSM). IEEE: 1–6. doi:10.1109/icsssm.2016.7538613. ISBN 9781509028429. S2CID 21551083.
  3. ^ a b c d e Moser, David (2018), Tam, King-fai; Wesoky, Sharon R. (eds.), "Keeping the Ci in Fengci: A Brief History of the Chinese Verbal Art of Xiangsheng", Not Just a Laughing Matter: Interdisciplinary Approaches to Political Humor in China, The Humanities in Asia, vol. 5, Springer Singapore, pp. 77–95, doi:10.1007/978-981-10-4960-6_5, ISBN 9789811049606, retrieved 2019-05-07
  4. ^ a b "中国近代相声历史资料". www.huaxia.com. Retrieved 2019-05-26.
  5. ^ a b Choy, Howard Y. F. (2017-08-29), Laughable Leaders: A Study of Political Jokes in Mainland China, The Humanities in Asia, vol. 5, Springer Singapore, pp. 97–115, doi:10.1007/978-981-10-4960-6_6, ISBN 9789811049583, retrieved 2019-05-27
  6. ^ Deason, Rachel. "Everything You Need to Know About Xiangsheng, China's Homegrown Comedy". Culture Trip. Retrieved 2019-05-27.
  7. ^ Stevens, Kate (January 1982). "The Empty City Ruse: A Xiangsheng by Hou Baolin and Guo Qiru". Chinoperl. 11 (1): 150–160. doi:10.1179/chi.1982.11.1.150. ISSN 0193-7774.
  8. ^ a b Chung, Juliette Yuehtsen (June 2008). "Bo Liang. Ji shu yu di guo yi yan jiu: riben zai Zhongguo de zhi min ke yan ji gou [Researches on Technology and Imperialism: Japanese Colonial Scientific Research Institutes in China]. (Zhongguo jin xian dai ke xue ji shu shi yan jiu cong shu.). 345 pp., figs., tables, bibl., index. Jinan: Shandong jiao yu chu ban she [Shandong Education Press], 2006. ¥38 (paper).Jianping Han;, Xingsui Cao;, Liwei Wu. Ri wei shi qi de zhi min di ke yan ji gou: li shi yu wen xian [Colonial Scientific Institutions during the Japanese Occupation and Puppet Manchukuo Period: History and Literature]. (Zhongguo jin xian dai ke xue ji shu shi yan jiu cong shu.). 468 pp., figs., bibl., index. Jinan: Shandong jiao yu chu ban she [Shandong Education Press], 2006. ¥49 (paper)". Isis. 99 (2): 429–430. doi:10.1086/591369. ISSN 0021-1753.
  9. ^ Moon, Tony (January 2010). "Spotlight kids: The depiction of stand-up comedians in fictional drama: film, television and theatre". Comedy Studies. 1 (2): 201–208. doi:10.1386/cost.1.2.201_1. ISSN 2040-610X. S2CID 191378327.
  10. ^ a b Imfeld, Cassandra (2005), "PR Newswire", Encyclopedia of Public Relations, SAGE Publications, Inc., doi:10.4135/9781412952545.n322, ISBN 9780761927334, retrieved 2019-05-27
  11. ^ a b c d e "德云社分了9个队，你知道这9个队的队长是谁吗？". www.sohu.com. Retrieved 2019-06-03.
  12. ^ a b "Better/Service for AMERICA'S LABORATORIES IN THE Central States". Chemical & Engineering News. 22 (11): 878. 1944-06-10. doi:10.1021/cen-v022n011.p878. ISSN 0009-2347.
  13. ^ "Tianqiao Theater". english.visitbeijing.com.cn. Retrieved 2019-05-12.
  14. ^ a b 过俊 李建宏 汪军 祁爽. "基于BIM技术的建筑设计优化应用研究——以天桥剧场项目为例".
  15. ^ Jingtao. "Tianqiao Theatre Architecture Introduction".
  16. ^ Dandan. "中国典型茶馆集中街区及企业文化".
  17. ^ a b "场地介绍 - 德云社". www.guodegang.org. Retrieved 2019-06-04.
  18. ^ a b c Angelelli, Ignacio (1967), "The So-Called Logical Relations", Studies on Gottlob Frege and Traditional Philosophy, Springer Netherlands, pp. 92–106, doi:10.1007/978-94-017-3175-1_4, ISBN 9789048183265, retrieved 2019-06-04
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