Download pdf
A Study of Innovation-oriented New Traditional Crosstalk Writing Styles-- Taking “Baofu” and Character Relationships as Examples
- 1 Temasek Polytechnic
* Author to whom correspondence should be addressed.
Abstract
As social and cultural changes and the evolution of audience aesthetics, traditional crosstalk is also facing the need to update its content and form. By means of synthesis and theoretical analysis, this paper explores that while inheriting the essence of traditional crosstalk, crosstalk as an art form needs to be adapted to the needs of modern audiences through innovations in jokes and character relationships, in order to adapt to the innovation and development of modern society. While analyzing the core elements of traditional crosstalk, including the use of jokes, the construction of character relationships, and the reflection of social and cultural backgrounds, the paper points out the limitations that these elements face in modern times, such as the timeliness of the content, the rigidity of the form, the regionality of the language, the singularity of the themes, and the conservatism of performance. On this basis, the essay proposes a series of innovative strategies to evolve traditional crosstalk while meeting the contemporary audience's aesthetic needs, including content reflecting the spirit of the times, breakthroughs in traditional performance forms, overcoming linguistic locality, expanding thematic diversity, innovative performance styles, and strengthening interactivity with the audience
Keywords
Traditional crosstalk, innovation-oriented writing styles, Baofu, character relationship, improvement
[1]. Huang LP, Wang JC, Liu Y. Exploring New Ideas for Translating Traditional Crosstalk Humor[J]. Foreign Language Research, 2022(5): 67-72. DOI:10.16263/j.cnki.23-1071/h.2022.05.010.
[2]. Li Y. Performance Research on Crosstalk[D]. Inner Mongolia: Inner Mongolia University, 2023. DOI:10.27224/d.cnki.gnmdu.2023.001333.
[3]. Mao ZY, Chen HL. Discourse Analysis of the Humorous Language of Cross Talk[J]. Journal of Suihua University, 2023, 43(5): 90-91. DOI:10.3969/j.issn.2095-0438.2023.05.028.
[4]. Li WR. An Evaluative Analysis of the Chinese Comic Dialogue[D]. Heilongjiang: Heilongjiang University, 2017.
[5]. Guo Degang & Zhang Wenshun, Traditional Crosstalk - Da Shen An, 2019, Bilibili, https://www.bilibili.com/video/BV1kb41137tp/
[6]. Guo Degang & Yu Qian, Traditional Crosstalk - Ni Ben Shan Liang, 2017, Bilibili, https://www.bilibili.com/video/BV13x411s7A2/
[7]. Ma Sanli, Yang Shaohua & Zhang Qingsen, Traditional Crosstalk - Kai Zhou Chang, 2018, https://www.bilibili.com/video/av20448386/
[8]. Yu Y. Research on the Communication Form and Audience Reception of Cross Talk Art in the New Media Environment[J]. Home Drama, 2024(24): 25-27. DOI:10.3969/j.issn.1007-0125.2024.24.009.
Cite this article
Zhao,S. (2025). A Study of Innovation-oriented New Traditional Crosstalk Writing Styles-- Taking “Baofu” and Character Relationships as Examples. Communications in Humanities Research,62,58-66.
Data availability
The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.
Disclaimer/Publisher's Note
The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of EWA Publishing and/or the editor(s). EWA Publishing and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content.
About volume
Volume title: Proceedings of the 4th International Conference on Literature, Language, and Culture Development
© 2024 by the author(s). Licensee EWA Publishing, Oxford, UK. This article is an open access article distributed under the terms and
conditions of the Creative Commons Attribution (CC BY) license. Authors who
publish this series agree to the following terms:
1. Authors retain copyright and grant the series right of first publication with the work simultaneously licensed under a Creative Commons
Attribution License that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this
series.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the series's published
version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial
publication in this series.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and
during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See
Open access policy for details).