Zhao Benshan's comedy sketches have several outstanding features as follows.

First of all, most of Zhao Benshan's comedy sketches have a strong ideological character. Under the guidance of the idea of teaching and enjoying, he dares to criticize the current evils and scourge the ugly phenomena in the society, and he also makes good-natured mockery and exhortation to the shortcomings, weaknesses, and undesirable habits of ordinary people. In the process of displaying the lives of the little people, some works promote the wit, optimism, and self-improvement of ordinary people, and glorify the beautiful hearts of ordinary people. Some of the most familiar works are "1 x 1 = 1" and "Mahjong Tofu". and "Mahjong Tofu". A village chief ate ten chickens from a chicken farmer and was late in paying for them. For such a commonplace life material, Zhao Benshan and others are ingenious, they do not let the mayor come to the front of the stage to accept the trial of the Moral Court, in the trial to enjoy his embarrassment, embarrassment; but the mayor pushed the mayor to the backstage, so that the chicken professionals and their couples in the family tortured themselves, repeatedly pondering the chicken money in the end to ask for it, but also can not help but be funny to each other to play the role of the mayor and the debt collector rotating They also play the roles of the village chief and the debt collector in turn, rehearsing the scenes of debt collection. On this end alone, the work's critique of the bad party and social climate is weighty enough. In the hero's demonstration of the debtor in a "two-people" singing, a strong emotion of sadness and helplessness strongly impacted the audience, unforgettable. However, Zhao Benshan is also generous, grasping a more accurate sense of proportion in the process of criticism. Despite the critical force of the entire work, he leaves room for those who may abandon the old for the new at the end, allowing the voice of the township chief sending chicken money to ring out from behind the curtain. This should not be regarded as a "bright tail" added to the work, but should be said to be a more essential reflection of the reality of our life that the party spirit and social atmosphere are improving, and, of course, it is also a fervent expectation and call for further improvement of the party spirit and social atmosphere. In my opinion, this kind of warm ending will have a more positive effect on waking up people's hearts and correcting the world's wind. Some commentators have pointed out that if the ending only sounds the voice of the mayor without stating the purpose of the night visit, the meaning will be more meaningful and rich. This design naturally makes good sense. Artistic expression is supposed to be diverse and colorful.

"Mahjong Tofu" is a satirical skit about peasants who have gotten into the bad habit of gambling. For many cities and towns where gambling is a growing trend, this skit is a highly targeted piece of work that hits the nail on the head. The skit shows the serious consequences of gambling in the form of comedy, and has a strong message of warning to the world. Associated with some of the sketches and comedies or satisfied with a hilarious to the end, the lack of meaning, or the idea of exposure, the situation at a glance, Zhao Benshan's sketches in the unity of content and form, is to do a better job. It should also be noted that Zhao Benshan's creation, although it is difficult to get away from the satirical approach to comedy, but able to do banter but not abuse, the weakness of the general public is to advise and ridicule with the good people, the disabled is to praise their wit, intelligence, to show their life in the hardships and joys, and did not deliberately sarcastic about their physical defects to make fun of.

Secondly, Zhao strives to personalize his characters in his performances, which makes his work unique. Comedy can be both character and plot comedy and personality comedy. Generally speaking, the latter is a bit more difficult for actors. As what we usually call comedy sketches, they are only ten minutes long, so they are mostly melodramatic comedies. However, in Zhao Benshan's work, a character is portrayed in as short a time as possible. This character has no traces of artifice, as if he just walked up from the audience in real life, "this one". The chicken farmer, who is afraid of wolves and tigers, and the tofu maker, who is addicted to mahjong and has no face, are both glittering with individuality. Even the witty, wily blind man who sells newspapers in "Thirteen Fragrant Fragrances" leaves a deeper impression. For a ten-minute skit, to be able to explain the plot clearly, the comedic effect embodied, and even reached the goal. Zhao Benshan is not satisfied with this. He studied the script, found the characters in the plot of the script, and then seized the characters, molded the character, looked for the feeling, refined language, and finally, was in the character's specific character trajectory of the movement to show the plot. At this time, the character is not just a symbolic carrier in the play, but a living "this one"; at this time, the comedy plot is not the plot of the original script, but the unique "behavior" of this unique character. This is also Zhao Benshan acting like one. Acting a live one of the wonders.

Once again, Zhao Benshan's performance is very rich in living color. Natural, stretching, calm, not warm, as the clouds and water. His portrayal of a blind man is almost unattainable by others. The other characters he plays are also unique in their own way. This is largely due to his mature acting skills, but it is not without a track to follow. For one thing, Zhao Benshan has been living among the grassroots for a long time, and has a meticulous, in-depth observation and accumulation of life, which enables him to grasp the characters he plays with ease and familiarity. Secondly, he strictly respects the "qualitative stipulations" of a particular character's personality and captures the character's feelings, so he can "do whatever he wants without exceeding the rules". Even the arrangement of the singing section is also in the line when the line, stop when the stop, move freely. Third, he absorbed the two-people and other local opera in the clown some of the performance techniques, can skillfully and directly with the audience to communicate and communicate, this time and the audience to maintain a state of interest, so that he gets a unique advantage, this charm so that he was able to attract the audience and he *** with the creation of comedy effects. For example, in "1 x 1 = ? For example, in the episode "1 Ten 1=?", in which a chicken farmer is struggling with the wording of a simulated debt, the character directly discusses with the audience how to greet the mayor of the township. This seemingly self-talking lines, reflecting the psychology of the characters, characterization, to shorten the psychological distance with the audience, have played a very effective role. This seems to be outside the plot of the two-people in the "zero mouth" live, but often receive unexpected comedic effect, should not be underestimated.

The last point is that Zhao Benshan's comedy sketches have distinctive local characteristics. Zhao Benshan is a comedian who grew up on the black soil of Northeast China, so his creations and performances are full of the unique cheerfulness, open-mindedness and sense of humor of Northeast China. The language of his comedy sketches is northeastern-flavored, and so is his lyrical style. This simple, robust and fiery local flavor of the Northeast gives people a sense of authenticity and intimacy, and this feeling will infect and conquer the audience at a deeper level. In this regard, the Northeast comedy sketches have unique conditions, which retains the original soup and water of the Northeast local flavor, but also due to the accent and Mandarin close to the majority of the audience for the acceptance of the country. In contrast, Shanghai and Zhejiang burlesque due to the limitations of the dialect, in the "translation" into Mandarin performance, the loss of comedy information will seriously affect the comedy effect. As far as comedy is concerned, the language and expressive methods rich in local characteristics have a unique penetrating power, which has a marvelous and ineffable effect on the atmosphere, characterization and even the formation of comedic effects. So I think the northeast flavor of Zhao Benshan's sketches is also a reason for his surprise victory that cannot be ignored.

Zhao Benshan's comedic achievements and influence are indisputable, so it is necessary to study and explore the success factors on his creative path. Zhao Benshan's growth has benefited from at least the following four aspects.

Firstly, Zhao Benshan's comedy performance art has widely borrowed and inherited the comedy traditions of Chinese culture, and from comedy consciousness to comedy expression methods, he has been learning with an open mind, studying hard, and transforming into his own things. What is more valuable is that he is not limited by the established law, and with his own talent, spirit and courage, he is able to bring his artistic personality into play and create his own artistic world. In recent years, China's drama sketches unprecedented prosperity, comedy sketches especially favored by the audience. Some commentators feel strange: why drama schools and drama troupes as a teaching tool and assessment method of sketches quickly become popular, and popular throughout the country? In fact, this is only to see a side of the origin of the sketches, that is, the introduction of this channel from the Western drama; and did not see that the sketches in the history of Chinese theater, opera is a long history, the most rich tradition of a class of artwork. Farther away from the pre-Qin Dynasty, the Tang Dynasty's "military theater" can be considered a kind of drama sketches, but also comedy sketches. Although the "military theater" gradually matured in the Tang Dynasty, it actually began in the period of sixteen countries. After Zhao Shi Le because of a serving as a military official corruption, and improvised organization of people performing a "living newspaper drama", this is the "military play" of the origins. Interestingly enough, from the moment of its introduction, the "Seneschal's Play" was satirizing and criticizing the corruption among the officials at that time. It can be seen that the "moralizing function" and "critical function" of comedy sketches also have their ancient traditions. There are already roles in the "Soldier's Opera". The role of being teased is called "Senjun", and the role of teasing people is called "Cangfeng". One master and one subordinate, one Zhuang and one Harmonizer, one wise and one foolish, one Ke and one gag, cooperated with each other tacitly. Song Dynasty "miscellaneous dramas", is a kind of comical theater, can be regarded as the Tang Dynasty "military theater" a kind of inheritance and development. "Song miscellaneous opera" as a drama is not mature enough, but as a sketch is more than enough. It linked songs, dances, raps, vaudeville, and other kung fu together in a comedic style, and gradually formed a solid structure: Yan Duan, Zheng Miscellaneous Drama, and Scattered Duan. The style of "Song Miscellaneous Opera" is a three-part structure, and the form and means of performance are largely the same as that of the Northeast's local opera "Er Ren Ren". This can not help but see the traditional excellent national culture and art in the historical development of the tenacious vitality. Since the Yuan and Ming dynasties, the drama sketches characterized by the forms of "Senjun Opera" and "Song Miscellaneous Opera" have been inherited and developed in different ways in local operas and some folk operas. The comedic elements in Sichuan opera are especially obvious. In folk theater, many plays are closer to sketches. The street play "Drop Your Whip" from the resistance period and "Brothers and Sisters Open the Land" from the mass production movement in the liberated areas can also be described as sketches. In this sense, our actors and audiences are not strangers to different forms of sketches. Zhao Benshan's familiarity with the performance of the northeastern local opera Er Ren Rou has laid a solid foundation for his later comedy sketches and performances. As a matter of fact, the distance from Er Ren Su to sketches is not that far. Some Er Ren Su segments are good sketches as long as you change the performance formula a little bit, and turn part of the singing into dramatized actions and lines. Of course, for Zhao Benshan, learning is multi-channel, multi-faceted, two-people's comedy consciousness and comedy performance skills is only one of the aspects of his borrowing, learning, in his comedy sketches to reflect some of the more prominent.

The muse of art often comes up with new tricks. He not only pushed a kind of art to the Chinese audience, but also made it popular in just a few years. This artifact is the comedy skit. If there are not a few wonderful comedy sketches on the annual New Year's Eve TV gala, it is impossible to explain to the audience. Speaking of comedy sketches, people will immediately think of Zhao Benshan, think of his wonderful, skillful comedy performance. A special symposium on Zhao Benshan's comedy was also held, which is enough to show that Zhao Benshan has made admirable achievements in comedy performance.

Secondly, Zhao Benshan's success stems from the fact that he has put his roots deep in the black soil of Northeast China. Comedy theory and some audiences have noticed that comedy is tied to the culture of the Northeast's black soil, centered in Shenyang. In recent years, most of the popular and influential comedy sketches and comedians have come out of the Liaoning area. People are very familiar with the images of Zhao Benshan, Pan Changjiang and Gong Hanlin. Famous artists such as Tian Lianyuan, Yuan Kacheng and Liu Lanfang are also active in Liaoning. People also remember that when the Gang of Four was just crushed, a wave of "comedy fever" blew across the country, in which several wonderful segments, such as "special life", "good dreams do not last long", "false big empty" and so on, left a deep impression on the national audience, which are also out of the comedy Shenyang. The connection between the regional culture of the black land and comedy can no longer be regarded as an accidental phenomenon. As a matter of fact, people only know the boldness and robustness of Northeastern people, while the unique sense of humor of Northeastern people is far from attracting people's attention, let alone research. Northeast in a fairly long period of history is relatively desolate, Shandong, Henan, Hebei, farmers in front of the great famine in the face of desperation, leaving their homes to break into the East. The adventurous and pioneering spirit cultivated in earning a living made the spirit of the Northeasterners develop their own characteristics. Most of the strugglers who broke into Guandong were successful and found their place and right to exist on the black land. This kind of victor's self-confidence and self-esteem is the best foundation and condition for a sense of humor. Northeast of the two-people turn, commentary, ji opera, commentary and other artwork category, everywhere is infused with the nutrition of comedy, glittering with the luster of humor. Zhao Benshan is precisely in this black land to put down roots, grow branches and leaves, fruitful. The way of life of the people in the Northeast, their habits, their ways of doing things, their social customs, their linguistic characteristics, and their optimistic outlook on life, all play a catalytic role in Zhao Benshan's sense of humor. Zhao Benshan's upbringing was clearly influenced by this black land and the Guandong hans of the black land.

Thirdly, Zhao Benshan's deep understanding of life through the trials and tribulations of a hard life is an important ideological foundation for his steady and solid comedic style and his generosity and broad-mindedness. Reviewing the deeper attainments and greater achievements of comedy artists in ancient and modern times and in foreign countries, we can find a regular phenomenon: they have either gone through trials and tribulations and tasted the bitterness, spices, sorrows and sweetness of the human world, or they have had a deep understanding of the life of ordinary working people and experience, so they know how to love and hate, love life, love the ordinary people, and hate the ugly forces and the ugly phenomena. Zhao Benshan is also due to the life of ordinary people have a deep experience, in order to shine in the art of creation. He also has a good condition, the elders in the family have a certain attainment of folk art to their own enlightenment and enlightenment. This is life's favoritism to Zhao Benshan, and it is also a favorable condition that we can't help but take into account when studying the growth of a comedy artist.

Fourth, the close cooperation of the comedy sketch writing group with Zhao Benshan as the front stage and Cui Kai, Zhang Chao and Zhang Huizhong as the behind-the-scenes scriptwriters and directors over a long period of time is also an important factor for the success of Zhao Benshan's comedy sketches. Zhao Benshan's stable collaborators have been to the countryside and have received higher education in literature and art, which ensures that their scripts are of a certain quality. In addition, they know Zhao Benshan well and can create conditions for him to utilize his strengths in script writing. Although Zhao Benshan is not highly educated, he has a good understanding and a solid life background, and he can transform his scripts into stage art in a relaxed and natural way. The successful cooperation of this creative group has provided valuable insights into artistic creation.

So, is the creation and performance of Zhao Benshan's comedy sketches perfect? Of course not. In my opinion, Zhao Benshan's comedy sketches in the following two aspects need to improve and improve the problem:

The first aspect is the state of mind and aesthetic taste to be improved, should strive for a more elegant tone, to achieve the elegance of the vulgar **** appreciation. The content, techniques and language of comedy works should be popular and popularized. However, the popularity of the content and form should not affect the elegance of the style and the profound thought. Popularity should never be confused with vulgarity. We are using the popular and easy-to-understand form as an aesthetic intermediary, thus ferrying the audience to the other side of the truth, goodness and beauty, rather than using vulgar performances to pander to the low taste of a few audiences with low levels of sophistication. It is not too difficult for comedians to amuse part of the audience with their best efforts, but what is difficult is to make people laugh in an elegant, healthy and beneficial way, and to provoke thoughts after laughing. Our comedies should purify people's minds by ridiculing ugly phenomena, and thus become a light that improves people's quality of thought and guides them toward truth, goodness and beauty.

Zhao Benshan's comedy sketches have two issues that can be brought up for discussion in terms of language and material, one is the issue of the actors themselves and the actors making fun of each other through verbal derogation, and the other is the issue of drawing on the lives of people with disabilities, using their physical defects and the contrast between their habits and those of the normal people as the spice of comedy. The former problem is less prominent in Zhao Benshan's creations, but it is worth noting, for example, in his comedy sketch "Thirteen Fragrant Fragrances," the lines of the two hawkers who fight have something in them that takes advantage of each other and lacks beauty. In real life, just the right amount of self-deprecation, to shorten and bridge the distance with the audience and improve their own image is often effective. Abraham Lincoln's use of self-deprecation to get out of a difficult situation in a parliamentary debate is a typical example. The use of self-deprecation in comedy performances is permitted and commonly used. In comedy performances, it is often the case that the actor and the character are two and one, one and two, mixed together, making a fool of themselves, and finding baggage in themselves. Successful use of this self-deprecating techniques, can receive good comedic effect, but should pay attention to the proportion, not too much. Once exaggerated, ugly shape, and even specialize in the generation of physical defects on the article, the loss of beauty, but also beyond the audience's moral and psychological capacity, can not make the good people laugh. Even if there is laughter, it is a reaction of low interest. A noteworthy issue is that comedy draws on the issue of physical defects that disabled people and people in general have. Can comedy and other dramas draw on the physical defects of people? The answer is yes. We can effortlessly find some cripples, one-eyed dragons and other secret agents, bandits, lackeys and other villains in TV, movies, plays and other works. The audience has never objected to the physical design of such characters. This kind of physical design further scandalizes the image of the villain, and also satisfies the general audience's psychological need to punish and take revenge on the villains. In comedy works, the performance of physical defects on characters who represent an undesirable trend is also easy to accept. Shi Shengjie's "Little Shoemaker" comedy, in which Ouyang Feijin, a cadre's son who engages in unorthodox and uneducated practices, is depicted as a stuttering carver, has been recognized by the audience. Pan Changjiang's "Uncle" in his comedy sketches is also accepted by the people. Can the physical defects of ordinary people be shown? Yes, because physical defects are an unavoidable part of human life, and art works cannot and should not hide from this reality. The misfortunes and struggles of ordinary people, and the spirit of heroes and heroines who are physically handicapped, are all fully expressed through physical defects. We are familiar with Mr. Lu Xun's Kong Yijie finally became a paralyzed man walking on his hands, and Ah Q grew a head of mangy scars, because they are very appropriate to serve the author's overall aesthetic conception, so it produces a strong aesthetic effect. Not long ago from the TV to see a skit "backlight", is a reflection of the two blind road encounter, because they can not see each other and a little misunderstanding, humane flavor is very full, the ordinary people's hearts depicted very beautiful. The blind newspaper seller in Zhao Benshan's "Thirteen Fragrant Fragrances" shows the optimistic, witty and resourceful character of an ordinary disabled person, which also has certain aesthetic significance. However, it is another matter altogether if the physical defects of ordinary people are used as the laughing stock of comedy. This is an extremely old problem. In Liu Xiang's "Biography of Women", it is recorded that midgets were used to play tricks for fun in our country from the Xia Jie era. Subsequently, it has been repeatedly recorded in Zuo Zhuan, Guoyu and Shi Ji, which is simply history without end. Not coincidentally, the court of some Western dynasties also often use some midgets for the emperor and ministers to relieve boredom. This kind of brutal class oppression and abuse that uses physical ugliness to win the pleasure of the ruler still occupies a certain place in the aesthetic research in its initial stage. Analyzed from the aesthetic course of comedy, it is a comic consciousness that ridicules the defects of human beings that rises up on the basis of imitating nature and thus showing the superiority of human beings themselves. As a category of comedy, comedy begins to look at nature while looking at human beings themselves. This is, of course, a manifestation of the further maturation of human self-consciousness, and it shows that people have begun to produce aesthetic judgments of beauty and ugliness intuitively, from the health and deformity of the body. Although it is a shallow aesthetic consciousness born from the physiological sense, it is an important starting point, from then on it will penetrate into the spiritual world of human beings from the surface to the inside to complete the human self-observation, so as to find out the defects of human psychological wisdom and guts in the society where the ethical and moral norms are increasingly strengthened and complete the aesthetic scope of comicalness at a higher level. China's ancient advocates of excellence, in the early days, mostly used their own ugliness to win the hearts of human masters, and there was a long process of development to achieve "excellence" and the ability to "admonish", and those who were able to admonish were always a very small number of witty, brave and outstanding people. Throughout history, it seems that there were quite a number of people who were able to admonish, because these people were passed down because of the brilliance of their profound thinking and linguistic ingenuity, which made it easy to record them, while a large number of advocates, the vast majority of whom took the role of clowns as their mission, had their deeds extinguished because there were no exciting events to record. Here can also lead to an important lesson: our comedy works, if we are only satisfied with the physical imitation of the Velvet, action on the funny and ridiculous, but lack of deep ideological connotation, will not meet the audience's higher aesthetic needs, and can not be in the aesthetics of comedy to occupy a position, not to mention passed on.

Taking a look at the ancient books, we can find that the Greeks in the 10th century AD wrote the "Quasilini Arnoldus", which is the "Outline of Comedy", and also listed the "harmonic jockeys mocking at the defects of the people's minds and bodies" among the contents of the comedy. The seventeenth-century English comedian Congreve, however, was clearly opposed to "laughing at the disabilities of birth, the accidental faults of the senses, and the infirmities of old age", which he considered "naturally mean, and supposing the audience to be so, seeks to please by the crippled, or deaf, or blind, and hopes to amuse by virtue of what ought really to be expected of them". and wishing to amuse by virtue of things which are really things to be pitied." These observations are undoubtedly correct. According to Aristotle, comicality is ugliness that does not cause painful injury. The display of physical defects, on the other hand, is likely to hurt the good hearts of more than just the disabled. Also, this approach goes against the original purpose of the aesthetic of comedy. Comedy pokes fun at ugliness in order to get people to hate it, to avoid it, to change it, and to stop doing the stupid things that have been satirized on stage. The ridicule of physical defects, on the other hand, serves no such purpose; the display of these birth defects can only discourage people; it cannot make a cripple regrow a healthy leg, nor can it make a blind man see again; the laughter it provokes is cruel and unclean.

The phenomenon of shallowly relying on the display of physical mutilation or ugliness to gain laughter has not been interrupted from time immemorial, and this is because there is always a larger number of performers and appreciators of comic art stagnating at a lower level of aesthetics. This kind of physical embarrassment, with little difficulty in performance and obvious effect, makes certain performers happy. As a socialist literature and art in the art of comedy, shoulder the important task of uniting the people, educating the people, improving the people, facing in the socialist spiritual civilization of the education of the majority of the audience in the life of forty years, if we in the content, form, methods and ideological realm can not be innovative, will inevitably be the times and the people of the cold, belittled. The history of the boom and bust of our country's comedy business is an extremely informative mirror. In the old society, comedy was mainly performed in cafes and stalls, and the cultural quality of the actors and the audience was limited, so it was difficult to improve the tone of the comedy. Many of the comedy segments are quite vulgar, and even the so-called "meat mouth" segments. After the liberation, many comedians found it difficult to adapt to the new situation and felt confused. At this time, under the leadership of the Party, Hou Baolin, Sun Yukui, Chang Baolin and eleven others initiated the establishment of the "Comedy Improvement Group" in January 1950, which was formed under the leadership of Lao She and Luo Changpei. With the help of masters of language such as Lao She and Luo Changpei, they organized the old comedy, created new comedy, changed the mental outlook of the actors, and revolutionized the image of comedy, which made comedy ascend to the "Hall of Elegance", and became an art that was appreciated by the people of the whole country. I thought that comedy artists can get a lot of inspiration from the reform history of comedy. In terms of improving the ideological content and style of comedy sketches, I think it is crucial to improve the philosophical, aesthetic and literary training of writers and actors, and to enhance their aesthetic ability. It should be noted that Zhao Benshan's comedy sketches do not have serious problems in this regard. I deliberately emphasize this problem because it is universal in comedy writing and performance and deserves attention.

The second aspect that needs to be improved and enhanced is that there is still room for improvement in the breadth of subject matter and the richness and diversity of presentation methods, and we should strive for innovation and breakthrough.

Today's comedy sketches and other kinds of theater sketches are still relatively monotonous in terms of subject matter and methods of expression. Original, wonderful sketches less, generalized, group imitation more. In contrast, Zhao Benshan's sketches are better. However, the narrowness of the subject matter and the obsolescence of the techniques in his creation are also revealing themselves. A prominent contradiction today is that the audience's expectations of comedy sketches are getting higher and higher, and their demands are getting more and more critical, while there are very few good scripts for comedy sketches. If we can mobilize the majority of comedy writers to write scripts in an appropriate way throughout the country, so that comedians can have a larger choice of scripts, then the prosperous situation of comedy sketches will gradually take shape. Guangxi, Tianjin, Shenzhen comrades engaged in the "Ha ha set" comedy skit Grand Prix has made a good start, the momentum to develop, will certainly promote the creation of comedy sketches.

In addition to the issue of subject matter, the richness and development of the method of expression also requires urgent attention. Many comedy sketches in the comedy factor is too thin and light, the actors are busy three fire four running around the stage, eager to explain the plot is finished, the result is that the audience in the beginning of the sketches will be able to see through the whole drama of the "small conspiracy", the rest of the time is used to look for faults in the comments. There are not many cases where the audience can be brought into the required situation with ease, and successfully lured into falling for the trick, thus triggering strong laughter. Here is the problem of acting, but if the method of expression (including the way the skit structure, the use of sets and props, the use of other works of art and transplantation of borrowing and techniques) on the innovation, will continue to introduce the audience a refreshingly good works to. As we can see, drama has made a big breakthrough in the method of expression. The success of the sketch today is due to the broad digestion and absorption of drama, local opera and many means of expression in the opera, and the development of the sketch is also inseparable from the learning and reference to the sister arts. I think it is especially important to learn from drama and comedy. For Zhao Benshan, the commentary, the two-people turn and even the Ji opera developed from the two-people turn are still inexhaustible mines that should continue to be developed and utilized. The art of comedy and comedy sketches are two very close categories. One of their **** the same characteristics is that the audience must be amused in a relatively short period of time. Therefore, the structure of comedy, the method of expression and performance techniques of comedy, and even the language of comedy, are worthy of comedy sketches of writing, directing and acting to seriously study.

In summary, Zhao Benshan's comedy sketches have made considerable achievements, and his creations have brought great joy to the lives of the general audience, who have become more and more demanding. This situation puts forward a new and more difficult task for Zhao Benshan. We hope that he can go one step further and occupy a new artistic high ground.