Nowadays, Guo Degang seems to be successful and famous, with little right and wrong. However, Guo Degang's apprentices were a mixed bag, and there were constant turmoil. Compared with Guo Degang's past events and the various emergencies of Deyun Society's disciples, Deyun Society

Today, Guo Degang seems to be successful and has little right or wrong.

However, Guo Degang’s apprentices were a mixed bag, and there were constant turmoils.

Compared with Guo Degang's past events and the various emergencies of Deyun Club disciples, Deyun Club itself is actually running wildly on a magical country road, which is difficult to figure out.

From an idle artist on the streets to a popular folk art club, Deyun Society has soared into the sky, while the folk art world is divided into pros and cons. I am afraid that only the class leader Guo Degang can explain this feeling clearly.

Is Deyun Society a civil society that upholds traditional etiquette and insists on inheriting the original style of cross talk? Or is it a modern entertainment company that aims to make profits and harvest the fan economy?

I am afraid that many people cannot see clearly.

Some people say that with Guo Degang, there is Deyun Society, and Deyun Society is Guo Degang.

This sentence may be true or false.

Guo Degang is indeed the signature of Deyun Society and the main founder. But there are also obvious differences between Guo Degang and Deyunshe. From a cultural perspective, there are even signs of conflict between the two.

As for Guo Degang, it can be seen from his expectations expressed in a large number of interviews, commentaries and other public media that he is obsessed with traditional etiquette and customs, pays attention to the words and deeds of life in line with the traditional Chinese moral system, and is obsessed with the old days when master and apprentice were like father and son. , "Son and disciple" must be loyal to the master, and the apprentice should abide by the strict rules and precepts of the family. Granting stage names to apprentices, sending awakening , writing family trees, and setting rules all indicate that Deyun Club wants to follow the trajectory of traditional cross talk culture, thereby establishing his hope that his disciples will have descendants all over the world, and more cross talk will come from the Guo family. Crosstalk has been a great industry for several generations.

For Deyunshe, from early self-employment to later corporatization, it embarked on a new path of corporate governance and efficiency demands. Whether it is labor contract replacing the master-apprentice contract that is not recognized by modern society, or replacing the class leader reward system with salary plus performance, they are all the management systems that enterprises should have. The profit-seeking nature of the company is also clearly revealed in Deyunshe. In addition to normal cross talk performances, the huge returns from the fan economy are being wildly harvested by Deyunshe. Some well-known Deyun artists are almost all seeking greater influence in other fields such as variety shows, film and television, and creating more corporate income and personal value outside of cross talk.

From the above, it can be seen that Guo Degang and Deyunshe seem to be one, but they are different. This is the magical soul of Deyun Society - that is, culturally, the traditional morality, red tape, industry rules, and even stereotypes that flaunt folk art return to all aspects of the society; in practice, however, they cater to the business attributes of the enterprise. The diversified needs of the fan economy are completely benefit-oriented. Not to mention the high ticket prices hyped by scalpers, the gift-giving process by fans vying for favors can take up a lot of time in the show. As for the support groups, idol groups, and even more forms behind it, most of them play the leading role with financial interests.

No matter what, the greatest value of Deyun Club is reflected on the stage.

But judging from the current performances of Deyun Club, traditional cross talk elements are being submerged by new elements such as fashion, coolness, blogging, and being out of the circle.

The Taiping lyrics that Guo Degang strongly advocated in the past have been carefully studied by few disciples. Even the ditty minor tune has been transformed into a popular song.

Obviously, this is not the pure tradition as mentioned by Guo Degang, nor is it a solid manifestation of cross talk’s ability to “learn, teach and sing”, nor is it the adherence to certain rules of traditional works.

If you have to find a far-fetched reason, maybe it is "introducing the old and bringing forth the new", maybe it is "highlighting the characteristics", etc.

Although Deyun Society contributed to the revival of traditional cross talk in the early days, judging from the current situation, Deyun artists have seamlessly connected with various pop stars. In any case, they cannot be regarded as a model of adhering to traditional culture and promoting the essence of folk art.

The two are contradictory, but the result is parallel. As the magical Deyun Society continues to develop, will it stick to tradition and grow healthily? Or is the strategy unclear, the concept confusing, and one careless move capsizes the ship?

It seems that the class leader Guo Degang and all the young disciples of Deyun Society should think about it carefully!