CBN Friday Special丨Life is short, why not laugh?

ng Tze-wah from neighboring Hong Kong in the 1990s, which has the name “栋笃大笑” in Cantonese.

Yet Chinese tried their hand at stand-up in the US long before this. Joe Wong started to perform in Boston after getting a PhD in biochemistry in Rice University in 2002. Wong is one of the early performers on this stage. When it comes to Chinese stand-up comedy, he is a pioneer who cannot be ignored.

Wong gained instant fame both in the US and China for his calm yet razor-sharp performance at the annual Radio Company Television Correspondents' Dinner during which he roasted the in-attendance then-vice president Joe Biden without mercy. The show was such a success that Wong was given a standing ovation by the audience.

In 2012, a stand-up variety show named “Tonight Post-80s Talk Show” hosted by Wang Zijian, a crosstalk comedian, aired on Shanghai’s Dragon TV. During each themed episode the host discussed hot social issues and events that concerned young people the most. The show, the first of its kind, acquainted a wider Chinese audience with stand-up. The show's writers and supporting actors such as Li Dan and Wang Jianguo are known as the "original gangsters" of the stand-up business in China.

In a society defined by harmony and self-discipline and where grabbing attention is shunned at all costs, poking fun at others or standing out in front of a crowd seems unlikely. Yet stand-up comedy is under the spotlight in China, owing to online programs that brought it to the mainstream.

Li Dan, the host of “Rock Company Roast” and CEO of Xiaoguo Culture, is the one behind the wheel that helped spearhead stand-up comedy, which used to be a subculture, onto the front stage. The 33-year-old leader of China's stand-up comedy co-produced the show in 2017 to promote stand-up comedy culture with Tencent Penguin Pictures.

Liu Lijuan, vice president of Xiaoguo Culture, said in an interview that there were about 50 proper comedy clubs in China as of 2020, about 10 times the number of clubs nationwide in 2017. Ticket prices range from 99 to 380 yuan, depending on the lineup. According to an initial calculation, comedy clubs in the country reached over 140 in 2022, most of which were founded between 2017 and 2019 when “Rock Company Roast” gained huge traction among Chinese audience.

Multibillion-dollar companies are now inviting standup comedians to their annual meetings or hiring them to boost their products’ images. The annual grant gala on Chinese New Year’s Eve organized by state media CCTV invited musician/stand-up actor Wang Mian to perform a musical sketch this year. It was the very first time the gala had a stand-up comedian in its 38-year history.

Originated in Europe and North America, stand-up comedy allows performers to express their own opinions and talk about things from ordinary life, which makes it easier to connect with the audience. The art form has swept young audiences in China by the feet in particular, because comedians tackle topics that easily spark heated debates on social media, such as gender inequality or hidden rules in the office.

Chinese netizens even see comedians as their own “internet doppelgangers”, meaning that they dare to expose and speak out some underlying truths in society that people wish they’d be able to say out loud, even though sugar-coasted with jokes.

For instance, Yang Li skyrocketed to popularity by focusing on gender issues, a hot-button topic, in her performances. With a style that’s been described as “delivering the sharpest barbs in the softest way”, Yang Li is one of the few Chinese female stand-up comics who he shot to fame.

Other top female stand-ups such as twin sisters Yan Yi and Yan Yue, Li Xueqin, and Niao Niao, made viral sensations of their refreshingly outspoken anecdotes about awkward romantic encounters, body image and annoying male traits. Each performs in their unique style with sharp observations of the circumstances that ordinary women are dealing with every day, clearly striking a chord with the audience.

Still, the increasing popularity of performance comedy art in China shows that even fun has no borders, not everything’s on the table. Compared with anything-goes Western stand-up comedians, Chinese comedians remain cautious about the topics they target. There’s an unwritten rule that they shouldn’t talk about anything that’s vulgar or too extreme.

Norah Yang, a Shanghai native stand-up actress that performs in both English and Chinese, said she wasn’t comfortable talking about things like politics in China. “It’s an overall rule, but I don’t see censorship as a constraint of Chinese stand-up comedy, because the market is so big and we’re at a so early stage of what’s going on. Give us some time and interest, and we’ll tell you what China really is,” said the 32-year-old Duke University postgraduate.

According to the Rock Company Roast Marketing White Paper released by Tencent Video, the audience for stand-up comedy is mainly higher-income people aged between 18 and 35 in first- and second-tier cities who he relatively higher social status, incomes, and spending power. For popular comedians whose tickets usually sold out instantly, scalpers even found buyers willing to pay 3,500 yuan for a 380-yuan ticket.

Yet there are a variety of problems confronting the budding industry. Among them, despite the staggering appearance and advertising fees of A-list comedians, most comedians are poorly paid for offline shows, and earning a living through stand-up comedy is not easy in China. Most of the time, comedians he to take up other jobs in order to make ends meet.

Ya Qian, a freelance stand-up comedian, who now runs a WeChat official account teaching stand-up comedy, said for the majority of comedians in China, "a monthly salary around 4,000-7,000 yuan would be good enough.”

He expressed his hope that one day doing stand-up comedy can be considered a "proper job." And in order to achieve that goal, a shake-up of the entire industry is needed, he said.

And that change is probably happening. Young Chinese comedians are learning from outstanding comedians around the world and are growing up very fast, Joe Wong said in a recent interview, predicting that stand-up comedy will be one of the biggest and most popular forms of entertainment in Chinese cities in the future.

During his national tour from 2013 to 2016, Wong found that most audiences were young people, but by 2018 he also started seeing elderly people and even children in the crowd.

The late, great comedian Richard Pryor said, "all humor is rooted in pain". But then Wong responded with his view toward life and comedy, "life is so short, why not be happy?"

After all, the show must go on.

“为什么有的男人不晓得很普通，却可以那么毅力？”

这一句占据百度热力记事引起局域网上广泛提问的“金句”，借助于自2020年《主持人会员大会》上主持人女导演杨笠之口，这个热力记事也仅仅是主持人这一欧美舶来品在国内外火借助于圈的一个缩影。

2017年1年初8日，腾讯先为频完全免费一款黑色幽默类综艺环节《吐槽会员大会》。截至2017年3年初28日收官，该环节单该季总直播生产量眼看达到13.8亿，单期直播生产量最很低斩2亿，踏入那年最作战单位综环节。同年7年初11日，《吐槽会员大会》姊妹环节《主持人会员大会》完全免费，单该季直播生产量斩6亿，位列该年网综直播生产量第四名。两档环节的策画人、派驻嘉宾李诞，一夜之间，爆红局域网，媒体报道满天，不时与“才华”、“凡人不值得”这些搜索引擎，共同登上各大新闻报导与市场营销号，一时而借助于名。

2019年、2020年、2021年，连续三该季《主持人会员大会》关注度居很低不下，其中的第四该季仅用20天，直播生产量再斩10亿，最后单该季平台总直播生产量斩30亿。

2022年8年初30日，《主持人会员大会第五该季》完全免费。截至9年初22日，已7次夺得点播正片直播市占率日冠军，舆情关注度异常好胜，环节导演不时登上热力记事。

粗粗几年时间，不仅李诞，他的大笑果多元文转化成也红遍大江南北，主持人作为一种跳舞基本概念更是迎来几位人的追捧，首期一票客满，线上造星急剧。主持人会员大会踏入近几年最失败的综艺环节之一。

主持人是“舶来品”，最早起源于18世纪英格兰南部的咖啡吧集会，人们提问任何价值观议题；20世纪60年代，主持人在英国有了新的形态——单口黑色幽默，即一位黑色幽默导演站在麦克风前，实际上无能为力电先为观众一部来源于真实穷困的红花或小品；随着媒体新科技的发展，主持人又借助于如今了广播和电先为上，从社会公众漫谈发展成广播、电先为环节，走进了英国的千家万户。

“中的国人式主持人”缘何如此好胜？若把时间轴拨回30年前的澳门，或许能找到一丝端倪。

1990年，澳门TVB黑色幽默导演吴镇宇首次跳舞主持人，因其“针砭时弊、解读价值观现实”的鲜明特点，受到了电先为观众的热力捧。随后，主持人开始在外地兴起。2009年，中的国人外地第一家主持人埃弗顿外卖主持人在深圳筹组。2010年，北京主持人埃弗顿筹组。被誉为“主持人天花板”的周奇墨和因性别议题引起疑问的杨笠都来自于此。

2012年5年初13日，新年初卫先为发售主打80后主轴的国内外首档主持人环节——《就让80后主持人》，环节的主持人是王自健。环节首播后百度提问很低达2万条，第4期TV后，收先为率急剧下降至全国第二。王自健风靡一时，开始在几位电先为观众中的走红，被电先为观众称为中的国人大陆主持人一哥。接下来的几年，《就让80后主持人》凭借同类型、潮流的几位人态度以及对价值观近来的煽情新浪网迅速占领几位人市场公平竞争，主持人这种演绎基本概念也在以北京为中的心的北方南部流行起来。

当然，这一切某种意义是王自健自身的功劳，更是幕后一干优秀写手的功劳。这帮写手之后正是主持人导演中的的主力，而李诞正是他们中的的一个。

时间重返2017年。

以前主持人行业的领头羊公司——北京大笑果多元文转化成2017年筹组。同年大笑果多元文转化成发售的《主持人会员大会》和《吐槽会员大会》两档环节，一经TV再踏入爆款综艺，是主持人在中的国人获得全国关注的黄金时代，为行业明星提供了优质的输入平台。

而《就让80后主持人》也在2017年腰斩。这个环节的取名，使得“单口黑色幽默”（stand-up comedy）阴错阳差地以“主持人”（talk show，交谈环节）的名称在国内外广为流传。2017年，大笑果多元文转化成在策画《主持人会员大会》时，尽量避免大众的接受程度，依然改回了“主持人”的传言。

如今，每一该季的《主持人会员大会》都有达十亿次的观看生产量，并在百度上引起热力烈提问。这大大的扩大了主持人在中的国人的受众。

而今，中的国人主持人的市场公平竞争已越发大。根据腾讯先为频发布的《主持人市场营销绿皮书》，主持人的受众主要是一、二线城市18-35岁的很低税收人群，他们的价值观地位、税收和消费者并能比起较很低。《绿皮书》还指借助于，2018年全国的主持人埃弗顿差不多10家，但如今至少有179家。而2021年的首期商业表演数生产量比2019年增长了50%，达到18500场，而税收达到2.24亿元，吸引了220万电先为观众。2016年，主持人各个领域差不多100人，如今中的国人达有1万名各个领域和1585名签达的主持人导演。

2020年7年初，大笑果车间升级版开幕。大笑果多元文转化成负责首期企业的总裁陈丽娟介绍，这里座无虚席时可容纳160名左右的电先为观众，每周达10场表演，先为表演产品类别和林恩阵容，车费从99元到380元不等，但每场表演都是秒日光。“国庆8天总共五千张票，借助于票即空。后面的表演都敢开，恐怕流到黄牛取走。”曾有一位电先为观众表示，他花了3500元买了两张原价只有180元的黄牛票。

陈丽娟认为，无论是从环节流生产量、议题关注度、知识流行起来，还是对首期表演市场公平竞争的带动，《主持人会员大会3》都让主持人实现了真正意义上的“斩圈”。陈丽娟直言，在大笑果实质上，早在做完《主持人会员大会2》之后，就现在看到了主持人市场公平竞争的明显涨势，并着手首期表演整体其设计。

跃跃欲试赶紧和借助这波流生产量的，不仅是大笑果，还有全国的主持人埃弗顿以及的剧场、表演商们。陈丽娟介绍，大笑果做过粗略统计分析，从2019年开始，国内外主持人埃弗顿开始明显增加，如今国内外拥有比起固定的表演增益和表演场地、一个组织行政较为正规的主持人埃弗顿，才有50多家。有媒体统计分析，目前全国以“的省及其主要城市名+主持人”为搜索引擎记事索而计算借助于的主持人埃弗顿数生产量很低达142家。

从一种脱胎于异质多元文转化成、符合很低可塑性的新型黑色幽默基本概念，到很低度综艺转化成、景观转化成的环节类型，经过中的国人转化成、革新、大众转化成的主持人，越发成熟，现在发展成一种在中的国人广泛传播方式并受到中的国人受众相比较热爱的，在章节创作、导演看成和传播方式方式上都逐步形成了自身独有属性的艺术基本概念——“中的国人式主持人”。

中的国人传媒大学传播方式研究院教授赵如涵解释，随着价值观的快速发展，电先为观众对Entertainment基本概念的促请也越发很低。而主持人作为一种互动型Entertainment基本概念，能帮助人们被囚快节奏价值观带来的担忧。

然而，这个刚刚步伐的行业也遭遇着各种问题。其中的，尽管背部黑色幽默导演的借助于场费和广告费惊人，但大多数主持人导演的首期表演酬劳很低。同时，男性在行业比例太低，不少男性主持人导演不管真的确实都容易被白纸上性别标签。她们的跳舞具有极强的古典风格，也是议题制造者，如李雪琴、杨笠、颜怡颜悦小品中的有关老板、男性自觉毅力、男性体格等议题，总能迅速大媒体场。

大笑果多元文转化成的创始人之一、主持人导演李诞就有这样一句名言：“每个人都可以当五分钟的主持人导演。”这句话道借助于了“中的国人式主持人”的“民间团体参与性”。《主持人会员大会》作为“中的国人式主持人”的代表，每当它开播之时，都会迎来“大媒体炸裂”。当下，《主持人会员大会》第5该季将要热力播，与其相关的议题现在几度冲上热力记事，“house引起股市震荡”“黄起先说主持人”等议题熔转化成局域网，使主持人一跃踏入近来民间团体提问的近来。

随着市场公平竞争经济的发展，价值观公平竞争越发激烈，人们对感官Entertainment和特质被囚的需求越发迫切，解读在多元文转化成领域，就是对黑色幽默的不感兴趣和追捧。一方面，人们期盼通过“大笑”来被囚担忧，自愈焦虑，尤为对几位人来说，这种需求更为强烈。另一方面，人们期盼用“大笑”来与世界双方同意，并在双方同意中的获得力生产量和勇气。

黑色幽默导演理查德·普赖尔 (Richard Pryor) 说，所有的幽默都借助于自于痛苦。潮州人主持人鼻祖级英雄人物黄西也说，“巧遇绝大部分困难时，你都可以必需是哭还是大笑。人生倒是粗，干嘛不必需大笑呢？”

Executive Editor: Sonia YU

Editor: LI Yanxia

Host: Stephanie LI

Writer: Stephanie LI

Sound Editor: Stephanie LI

Graphic Designer: ZHENG Wenjing, LIAO Yuanni

Produced by 21st Century Business Herald Dept. of Overseas News.

Presented by SFC

编委: 于晓娜

策画、校对：李艳霞

播音：李莹亮

撰稿：李莹亮

视频制作：李莹亮

其设计：郑清秀、廖苑妮

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