Just look at Guo Degang’s own introduction:

Beijing Deyun Society, formerly the Beijing Crosstalk Conference, is now a cultural performing arts company. The cultural group was previously owned by the Cultural Affairs Bureau Later, it was pushed to the Industrial and Commercial Bureau, so we became a company. Many art groups, such as Beijing Opera and Dance Theater, are now also called Beijing Opera and Dance Theater Culture Co., Ltd. Some of the actors are students, and some are actors contracted internally by us. They have to complete their own duties and performance arrangements within Deyun Club. Some performances are paid monthly, and some are based on remuneration for each performance. As for event hosting and program performances in other places, some are arranged for them by Deyun Club, and some are handled by themselves. The external ones basically have nothing to do with Deyun Club.

We started recruiting students this year, running student classes, and training classes, and trained and taught students completely in the old way. Don’t think that old means obsolete. Aren’t the techniques we use to steam steamed buns today the same as those from thousands of years ago? Being old does not mean obsolete, but represents a kind of maturity. There is no need to abandon a paved road and walk alone on a muddy road. Your shoes are full of mud and sand. If you still want to open up a new road, that is nothing more. It is a kind of destruction to oneself. So we usually teach our children not to be eager for quick success and instant benefits, but to love what you love. You must really like it from the bottom of your heart, rather than relying on it to get rich. In that case, it may be faster for you to go to other industries.

Our study class is based on the method of running a theater class, with one subject every two years. Our first subject is the subject of cloud characters, and the second subject is the subject of crane characters (currently enrolled in 2006) , the third branch is Jiu, the fourth branch is Xiao, and together they are "Yunhe Jiuxiao". This seniority ranking is just for people to know where you came from and when you entered school. So far, the situation is quite gratifying. We think many of the children are quite cute, some are in their teens and 20s, and they are very hardworking. It is estimated that among the more than 40 people, a dozen or so can perform well on stage, which would be great.

Deyun Club has its own creative class, which organizes materials, digs, and organizes some traditional programs, including plays we wrote, etc. Xu Deliang is in charge and leads a group of people to engage in creation to ensure that the creation can keep up. Everyone in Deyunshe's creations is different. Some like to write literally sentence by sentence, and some like me are accustomed to thinking first when writing, what kind of work I want to write, I started thinking about it now, and I am almost mature in thinking. , I took the paper and pen. I first got used to writing an outline, and I wrote as I talked. After I finished writing, I felt like it was done. I took a look for myself. The next performance was about to be performed, so I took the paper and went to the backstage to find Yu Qian. Once, when it's almost done, go on stage and perform it. Only after a certain number of performances can a script be formed. There is the program first, then the script, and there is more element of improvisation.

The creation of traditional cross talk must first be viewed from the perspective of performance. It is difficult for a person to write good things simply by creating. There are really not many people in the country who can write cross talk well even though they don't speak cross talk themselves. Moreover, what a great writer writes must be revised by actors, otherwise it won't make it onto the stage. This is like a person who doesn't know how to cook. If he stays at home and makes up a recipe, the things that come out may not be useful. This is true. We do not deny other people's cultural and artistic attainments, but these are two different things after all. There are issues with professional characteristics and artistic characteristics. Mr. Lian Chunming, who wrote "Wu Song Fights the Tiger" for Mr. Li Jindou, did a good job. Among the younger ones is Mr. Lian Chunming's godson Fang Qingping. He can also speak cross talk and is the apprentice of Mr. Li Jindou. I think the cross talk written by these two people, one old and one young, is pretty good, and they can be called professional writers. Because Fang Qingping has been an actor, his works can be used as they are quite accurate.

We can basically avoid having to be responsible for our own profits and losses now, which is still okay. Some actors work as program hosts on CCTV and Beijing TV, and some are also small-time actors, so their lives are pretty good. Actors should all live in their own way. So far, we still have a long way to go, and there is still a lot of work on our shoulders. We don’t seek bigness, nor are we greedy for too much. We just seek to be able to do our own thing well in a down-to-earth manner. That's good.

We have four old gentlemen in Deyun Society, Zhang Wenshun, Li Wenshan, Wang Wenlin, and Xing Wenzhao.

Mr. Zhang Wenshun is the veteran and one of the founders of Beijing Deyun Society. When there were only three people in Deyun Club, there was Mr. Zhang. We worked together. Mr. Zhang also did stand-up comedy and dialogue comedy. He performed with me and made great contributions. His teacher is his senior Tong Dafang. He is both a crosstalk actor and a drummer. He is also the only successor of the Chinese comic drum. The old man is hardworking and very smart. He has made suggestions during the development of Deyun Club and made many achievements. It’s a good idea, so Mr. Zhang owns half of the success of Beijing Deyun Club today.

Mr. Wang Wenlin is our veteran actor. His father is the senior cross talk actor Wang Changyou, and his master is Mr. Liu Baorui. He comes from a family of traditional folk arts and knows a lot of jokes.

Mr. Li Wenshan is a disciple of Mr. Wang Shichen, the senior cross talk artist. Mr. Wang Shichen was a senior figure who was very popular back then. He became famous earlier than Mr. Hou Baolin. Mr. Ma Ji once said that Wang Shichen is the cross talk giant in my heart. .

Mr. Xing Wenzhao is also a disciple of Mr. Liu Baorui and is good at stand-up. For such a long time, I have been working hard and working hard in Deyun Society.

Besides them, Deyun Society has three generations. Yu Qian and Li Jing are the same generation as me. Li Jing is the mainstay of Deyun Society. On the one hand, he praises my disciple He Yunwei and has his own unique ideas on stage. artistic charm. Many audiences like him very much. He is very popular and can sing the allegro very well. He is nicknamed the young leader of the Beijing Beggars Gang. When I was away, Li Jing was responsible for handling interpersonal relationships, student training, some backstage order, and program arrangement, and took care of me.

Zhang Dewu and Xu Deliang are disciples of Mr. Zhang Wenshun and are of my generation. Zhang Dewu was the earliest painter. He went to work as a painter and started talking about cross talk. Xu Deliang is the one with the highest cultural level in the cross talk circle in China. He graduated from the Chinese Department of Peking University. He came out to talk about cross talk and has been learning it since he was a child. His works are very bookish. We call him a representative figure of new literature. This is a good wish.

Shi Aidong, Li Jing’s senior brother, sings Allegro and is my generation.

Cao Yunjin is one of my disciples worth mentioning, because he has been living with me for about three years, and I call him to practice Kung Fu every morning. So our relationship is very good, I call him "gold".

Dongdong Qiang, a native of Jinghai, Tianjin, a fellow countryman, an era that cannot be looked back on, a member of Deyunshe Creative Club, one of the screenwriters of the next TV series, [Crosstalk Performing Arts], the ups and downs of crosstalk artists in the Republic of China era .

Probably the most influential among the young people is He Yunwei. He used to listen to me and formally became a disciple in 2002. So far, he is very influential in Beijing and has his own unique style in performing cross talk. Others are also growing.

Wang Hai is also from Tianjin and is now my agent. He was our audience at the earliest. He is very generous. In the early days of Deyun Club, he often brought people to praise us. Spend money, treat guests, for example, there are fewer people today, so he will try his best to bring people to listen. As we listened, we got closer and closer, and in the end we became good friends who talked about everything. After 2005, things suddenly started to increase and we were overwhelmed, so he started to help us take care of these things. In the end, we just said, come here and be an agent. Until today, we cooperated. It's quite late, and the others are quite interesting.

After so many years of work, October 2006 will be our tenth anniversary, so we plan to hold a large-scale celebration event this year to summarize and hold a seminar. To summarize the current situation of cross talk and what we should do next, the most important thing this time is how we can catch ourselves. This is very important. And we are also preparing to give the audience a reward. We will perform 6 performances in a very good theater in Beijing. We strive to show all the highlights of our ten years in these 6 performances for everyone to watch. This is a summary.