Mo Chi is better than people like Yang Li. Although I am not familiar with their live performances, I know something about their voice, state and humorous way. First of all, Zhou Qimo's performance fully shows that stand-up comedy can't be performed well just by offending anyone. Did Zhou Qimo's performance offend anyone? People who order slowly? Or an American negotiator who negotiated according to the process? And this is where I think Zhou Qimo is better than Yang Li and others.
Secondly, judging from the whole expression, both the ordering in front of the noodle restaurant and the English negotiation in the back of Uncle Tianjin are logical interpretations after a complete narrative fragment. Rather than the burden of forcibly shaking the number after setting some preconditions. Judging from the cross talk I am familiar with, his performance will not make people laugh their heads off, but pursue the state of making people grin.
While the actors of the other four talk show conferences were already struggling with the difficulty of paragraph innovation, Zhou Qimo left a deep impression on the audience with his skillful performance skills. Except for Uncle Tianjin, the scene reappearance of bare rice is enough for the actors present to study hard. Your performance should give the audience a sense of substitution and a sense of abuse. What you say may not be true, but you have to make the audience feel true, Tong.
Language, speech speed, facial expressions, movements, many people always think that the new guy can't tell a good joke for five minutes a year, so you are the first to fall behind when you innovate with the new guy. Comedy shows not only look at works, but also look at skills. This is similar to cross talk. The same big bodyguard sells tickets and spits lotus flowers. Some actors play classics, some are noisy, and some want to be blasted. Everyone understands the truth, and we will understand if we can do it.
All along, I think talk shows should be meaningful and advanced. What impressed me this time was the more advanced Hulan, Pang Bo and Jianguo Boyang. Although they were eliminated, they were also very subtle and humorous, Mongolian girls who graduated from Peking University. There is another who, I can't remember at once. Then Zhou Qimo.
Because of his previous performances, Boss Zhou proved to be an excellent talk show actor. Because the last two sentences directly sublimated boss Zhou into an artist. Don't compare Yang Li's deliberately antagonistic topic with Boss Zhou. Boss Zhou is not exporting values, not engaging in confrontation. This is the comedy core before the comedy film is castrated-satire. Look at Zhihu's reply. It's sad that the new generation who grew up listening to shit jokes has lost the ability to understand this. Fortunately, at least the comedian knows. As soon as the last two sentences came out, the promotion area patted the railing and stamped its feet, indicating that although they dared not say it, they understood and they would appreciate it. At least that's comforting.
Nice rhythm. If you compare with other actors, you will find that Zhou Qimo has been leading the audience. On the one hand, this rhythm comes from the rhythm of his performance, on the other hand, it comes from the rhythm of the story. These two rhythms are mastered by boss Zhou. In terms of performance, no one can compare with these two problems. If this manuscript is given to other actors, the first half will definitely pull my crotch, the first half will collapse and the second half will not get up. In the story, these two short stories of Boss Zhou confirmed what Mr. Luo and Li Dan discussed. If you want to tell this story well, you must have connections and integrity. On the other hand, Zhou Qimo is an out-of-tune actor. Unlike some talk show actors who have to stand from a certain angle and rely on others to tell jokes, Zhou Qimo is telling stories. Compared with the need for people to set up the comparison of stories, boss Zhou is still better. Finally, boss Zhou satirizes current events, which is a return to the truth of the talk show.
The so-called comedy is actually mainly to make the jokes and the audience have a sound. This paper first describes a vivid image of uncle Tianjin, and then fictionalizes an uncle who was taken hostage in the United States. You know this kind of scene won't be let in casually, and an English-speaking uncle in Tianjin won't happen to watch it on the spot, but through the previous narrative, you begin to fabricate this absurd scene in your mind. When everything was absurd, there was a serious uncle in Tianjin. Absurd but serious, this is the most commonly used contrast in comedy.
The most powerful thing to sum up this paragraph is courage. Some angry words have been buried for a long time and can't be seen online. At first glance, the weather is good, and when countries come to Korea, they can't see the decay of treasures outside. No celebrity commented on Ningbo, fearing that it would be forbidden to hide in the snow against the will of the dignitaries. Zhou Qimo was the first literary and art worker who was outspoken about this. Although he is subtle, he is much better than those jokes that pretend to giggle. I really respect it. Only with such courage can we be worthy of the bottom line of talk show art. What other actors say is just jokes and one-liners collage.