If the program is full of artists who go to the countryside to mourn, you can rest assured that none of them have returned to the program, and the audience has no opinion. However, if there is a corner or person that the audience wants to see, even if the person on the mat has a big wrist and a high rank, the audience will bombard you and let the person they want to see return. Crosstalk performance is a process in which the audience's mood warms up, or the audience just buys tickets to see you, so you must follow the audience's emotional route in order to achieve the best performance effect.

Take Shang Yan of Deyun Society as an example: The first stage of the program is a cushion performance-the audience enters the venue to find a place (they are in no state or mood), so we need some explosive combinations with particularly hot styles to ignite the audience's emotions, such as baked wheat cake Cao Heyang, Zhang Helun Lang He Yan, and now Wang Jiulong of Zhang Jiuling, all of which are cushion combinations used by Degang Guo and are best at igniting the audience's emotions.

The second program is the corner. Degang Guo Yu Qian, Yun-peng Yue Sun Yue, Guo Qilin Yan Hexiang, Zhang Yunlei and Yang Jiulang will all meet the audience in the second program. It's like a concert in Zhang Yunlei. After the host arranged the audience in front, the official performance began.

After that, there will be 2~3 performances at the bottom corner. The last program must be the bottom corner performance, and then all the actors will be introduced, and the program that they are good at will end.

Therefore, the premise of returning to the performance is based on the premise that each group can only perform one performance. If this Shang Yan was originally a "30th Anniversary Exhibition of Degang Guo Art" and your name was a performance trademark, then you will not be called back from beginning to end, which is your obligation, because the audience bought tickets to see you.

Don't look at how hot it is in Zhang Helun in Menghetang, Zhang Yunlei, Yun-peng Yue. If you meet people who just want to see Degang Guo, they will still be booed. Meng was bombed in a small theater and said he wanted to meet. Yun-peng Yue is already on fire like this. A few years ago, there was a special performance of Master and Son, and someone shouted at the audience, I want to see Degang Guo.

This is not a rule, but the audience's right to choose. For actors, flexibility is the embodiment of kung fu. At that time, Meng reacted quickly and used the baggage to appease the audience's emotions. On the contrary, the questioner was embarrassed to automatically show his position, which was completely different from the situation when Sun Jiuxiang let the audience go out.

Therefore, the return of crosstalk is not the so-called rule. The fundamental reason is that the audience is willing to look at you, and other actors are not interested. In those days, Degang Guo returned to the stage more than 20 times, because the actor didn't arrive here, and the audience just wanted to see him. The combination of the two is not caused by how hard he works or how great he is. Star concerts are all about watching one person for a few hours, and you have to watch it all. The reason is the same. It's not that you stay on the stage, but that the audience is emotional and loves to watch you. You must go back to the stage again and again.