Chinese comedy

Chinese comedy has a long history that dates back to the Zhou dynasty (1100–221 BC) when the aristocracy kept jesters in their homes. At that time people in higher society were profoundly influenced by the teachings of Confucius, and as a result comic shows were usually looked down upon in feudal China. During the late Qing dynasty (1644–1911) and Republic of China period, different styles of comedy flourished in big cities and the genre of xiangsheng comic drama began to emerge. Since the 1980s, the rapid development of media throughout the country has led to the formation of new forms of comedy, which have become popular among the general population. Today, the most consumed genres of Chinese comedy are Chinese skit and Xiangsheng.
Xiangsheng (simplified Chinese: 相声; traditional Chinese: 相聲; pinyin: xiàngsheng; lit. 'face and voice'), also known as crosstalk, is a traditional Chinese comedic performance in different forms of dialogue. Xiangsheng is a language art combining four basic techniques: speaking, imitating, teasing, and singing. It can be conducted by one or two performers. It is one of the most popular forms of entertainment because its language is rich in puns and allusions. New developments have been applied to this traditional art in order to keep pace with the times. Xiangsheng is a very contemporary performance. Comedians place emphasis on creating new works and injecting new elements into traditional works making them more relevant to current affairs. It is performed in the form of a dialogue between two performers, or, much less often, a solo monologue or, even less frequently, a multi-person dialogue.
Chinese skit is a form of performance about small things in people's daily lives. Chinese skit is generally regarded as originating in 1980s. It has inherited qualities, and developed from other forms of comedy, such as stage play, xiangsheng, Errenzhuan and comic drama. A skit revolves around just one topic, but with a lot of action and lively language. Through promotion by the Spring Festival Gala Evening over 2 years, Chinese skit became a very popular artistic form in China. The first skit in China was "eating noodles" (in 1984) which was performed by Chen Peisi.
The typical form of Shanghai-style stand-up comedy is the style known as "Shanghai Qing Kou", which was created by Zhou Libo – a most famous stand-up comedian in China. "Shanghai Qing Kou" originated from different forms of local stand-up comedy in Shanghai, Beijing and Hong Kong. It is a style of comedy in which the performer speaks directly to the audience on socially popular topics. In the performances the performer will include his or her personal experiences.
Joe Wong, a pioneer in Chinese stand-up comedy, gained fame in the US and China for his performances. Other notable comedians include Yang Li, known for her controversial jokes about men, and Zhou Qimo, a winner of the Rock & Roast competition. The field has also seen the rise of bilingual comedians like Norah Yang and Tony Chou, who perform in both English and Chinese.
While stand-up comedy is on the rise, comedians often avoid controversial topics to steer clear of official condemnation. The genre is appreciated by Chinese audiences but remains constrained by unwritten rules and censorship, limiting the topics that can be addressed.
The hurdles faced by stand-up are both cultural and systemic. The Chinese audience, not raised on satire, often finds stand-up's reliance on discomfort alien. Furthermore, China's preference for scripted routines and its limited appetite for political comedy contrast with stand-up's improvisational and often politically edged nature. State censorship poses another significant barrier, with vague rules around permissible content, particularly avoiding sensitive topics like Taiwan, Tibet, and Tiananmen.
Comedians are aware of an uncertain boundary regarding acceptable content. However, the specifics of censorship are deliberately vague, leading comedians to self-censor. Some avoid controversial subjects all together, while others flirt with the boundary cautiously. Occasionally, a comedian may blatantly cross this line, but such transgressions can lead to unfavorable outcomes.
Wang, Vivian (24 May 2023). "Cultural Crackdown in China Shuts Comedy and Music Shows". The New York Times. ISSN 0362-4331. Retrieved 13 December 2023.