This director lacks vision.

Chapter 350 The Controversy of the Second Review of the Spring Festival Gala

Jiang Yifeng actually wanted to take out the biochemical nanosuit for further research, but it disappeared once it entered his body.

Seeing this, Jiang Yifeng didn't delve into it further; the system's black technology was always difficult to fathom.

For example, Jiang Yifeng studied the custom sunglasses repeatedly for a long time and even let others wear them.

But for other people, they just look like ordinary sunglasses.

When Jiang Yifeng put it on, he exuded the aura of a big shot. This thing seemed to be able to influence magnetic fields and light, and it even felt like it carried his genetic information.

With the biochemical nanosuit, Jiang Yifeng felt incredibly safe and was in a great mood.

He left the lounge and met up with Zhu Tong. The two of them went to the new building of CCTV together.

This afternoon, the Spring Festival Gala directing team will conduct a second review of the Gala programs.

The first hearing was on October 25th. At that time, there were too many programs and it took too long. Jiang Yifeng was also filming "The Witch" so he did not participate and asked Mu Di and Guo Fan to do it in his place.

Jiang Yifeng's "The Witch" has now wrapped up filming, and Guo Fan's "Pacific Rim Season 4" has also finished filming. These past few days, he has been leading the visual effects team to test the stage effects in the studio of the new Yangshi building.

Upon seeing Jiang Yifeng, Guo Fan walked over and said, "Yesterday we conducted our seventh test of the live stream footage, and the current result is that the live stream delay is between 55 and 60 seconds, which achieves a fairly ideal picture quality."

If the live stream latency is further reduced, it will be difficult to achieve proper image rendering and ray tracing, resulting in a significant decrease in visual effects.

My personal suggestion is to delay the live stream by about one minute. This will not only provide better visuals but also allow ample time for contingency planning, reducing the risks associated with the live stream.

The delay in the live broadcast of CCTV's Spring Festival Gala is usually around 30 seconds to deal with unexpected situations.

If any problems arise on-site, the Spring Festival Gala production team will quickly switch to a pre-recorded backup video to ensure that no live broadcast accidents occur and that the audience will not feel any difference.

During the final countdown, the host will manage the flow to ensure that any delays are smoothed out and the time is accurately announced.

Of course, the so-called accurate time announcement is only for broadcast television users; the delay of online live streaming will definitely cause time announcement errors.

In addition, if there is a significant difference between the actors' costumes and the prepared recording, the production team will not dare to switch to the prepared recording at will.

Bai Jingting's performance of "Spring Mountain Studies" on the Spring Festival Gala wasn't replaced because he changed into black clothes during the live performance, which was too different from the white clothes he wore in the backup recording.

Even if the production team sees problems with the performance, they dare not switch to the backup recording, otherwise the difference would be too obvious and the audience would question whether the Spring Festival Gala was pre-recorded.

Hearing Guo Fan's suggestion, Jiang Yifeng nodded. A one-minute delay in the live stream was actually acceptable.

He chatted with Guo Fan for a while, explaining some details, and then saw Zhu Tong leading seven women dressed in theatrical costumes over.

"Hello Director Jiang, I am Li Qin. I studied Kunqu Opera for nine years."

"Hello Director Jiang, I am Li Yunxiao, a female lead actress in the Zejiang Xiaobaihua Yue Opera Troupe."

"Hello Director Jiang, I am Chen Lijun, a young male lead actor from the Zejiang Xiaobaihua Yue Opera Troupe."

……

These people were instructed to give very brief self-introductions, just their names and identities, omitting all details of their resumes.

Only Li Qin managed to find a loophole and introduce her past.

After all, she hasn't practiced much since entering the entertainment industry, so it's hard to say how much of her skills she still possesses.

In order to maintain a high level of skill in traditional performing arts, one must practice diligently and continuously.

Jiang Yifeng carefully examined the seven women in front of him. Chen Lijun was the most heroic, Li Yunxiao was more dignified, and Li Qin's opera costume was not particularly outstanding.

Jiang Yifeng sought out these actors because he planned to perform the song "Chi Ling" on the Spring Festival Gala, adapting it into a traditional opera story.

The story and musical style of Chi Ling are derived from the Kunqu Opera "The Peach Blossom Fan".

Kunqu Opera and Yue Opera have many similarities, so Jiang Yifeng naturally selects actors based on these two schools of opera.

Jiang Yifeng chatted briefly with the seven actors, encouraging them to perform well, before sitting down in the middle of the stage.

At 2 p.m., the directing team members arrived one after another.

In addition to Jiang Yifeng, Mu Di, and Guo Fan, this year's Spring Festival Gala also features Shen Chen, Zhao Lin, Tang Hao, Zhang Miao, Ding Xueling, Lü Yitao, and others.

The entire directing team consists of 11 people, plus the producer, program planner, and art consultant, making it a large team of 32 people.

Among the directing team, Jiang Yifeng also saw an "old acquaintance" - Zhao Benshan, who is the director of the comedy programs for this year's Spring Festival Gala, also known as the supervisor.

The most classic sketch by Happy Twist, "To Help or Not to Help," was inspired by Zhao Benshan's guidance, especially the ending scene where Hao Jian plays the old lady's callback, which was Zhao Benshan's inspiration.

Originally, Happy Twist wanted to end the film with Hao Jian dressed as Spider-Man to save people.

This shows that Shen Teng is a talented writer in comedy, but not a great strategist.

Once everyone had arrived, Jiang Yifeng could sense that some members of the directing team were clearly upset and had grievances against him as the chief director.

The main problem is that Jiang Yifeng "customized" too much of the program for this year's Spring Festival Gala, leaving little room for other directors to maneuver.

Jiang Yifeng didn't say anything for the time being. Seeing that everything was ready, he began the program review.

This year's Spring Festival Gala program review adopted a combination of live performances and video playback.

Some performances were live with costumes on, while others were pre-recorded, leading to discussions among the participants.

After all, it's still early, and most of the programs at this time are initial versions, which are quite different from the final versions.

The first performance was the Peking Opera "Thirteen Masters of the Tongzhi and Guangxu Eras".

The host introduced the program on stage.

The Thirteen Masters of the Tongzhi and Guangxu Reigns was originally a portrait painting, depicting famous Peking Opera actors who were renowned in Beijing from the Tongzhi to the Guangxu periods.

This program is based on this painting, and invites thirteen contemporary Peking Opera masters to each perform a corresponding representative work, thereby showcasing the magnificent Peking Opera culture.

After the performance, Shen Chen, Zhao Lin, and others praised it highly.

It's undeniable that this show has powerful backers; the actors on stage are all leaders of various associations.

This is why the program "The Thirteen Masters of the Tongzhi and Guangxu Eras" passed the first review with a unanimous vote, and it was also the only drama program in the first review.

Amidst the praise, Jiang Yifeng shook his head and asked, "Your singing is still the same old traditional style. Is there any innovation? Have you adapted and created anything that the general public likes to watch now?"

The atmosphere in the studio immediately became tense upon hearing this.

On stage, Yu Kuizhi said, "Peking Opera is a national treasure and a national quintessence. The ancestral laws should not be changed arbitrarily!"
What we should do for Peking Opera, this national treasure, is to inherit and promote it, not to arbitrarily adapt it.

If the adaptations are too drastic, Peking Opera will no longer be Peking Opera!

Hearing this, Jiang Yifeng almost burst out laughing. He had just watched these people's Peking Opera performance and felt a sense of decadence.

To be honest, after Peking Opera was touted as a national treasure, it has become increasingly detached from the masses, remaining pretentious and self-pitying within a small circle.

As Peking Opera declines, these people become increasingly arrogant, each one a master, as if the great art form is still alive and they are performing for the Empress Dowager.

They can indeed play like that, because most of them receive official subsidies and have plenty of time to study whether Xiang Yu in Farewell My Concubine should have taken seven or five steps.

On the contrary, Henan Opera, a type of drama that is close to the masses, has been thriving and even making money.

Kunqu Opera and Yue Opera have also developed well, not only having a certain mass base, but also being able to actively innovate.

Peking Opera itself is not the problem; it's just that its status has been elevated too high, and a small group of people have controlled the discourse, which has actually led to its decline.

If the government doesn't provide subsidies, and these people become so poor that they want to change their ways, then Peking Opera might still be saved.

Jiang Yifeng was too lazy to argue and said directly, "The program 'The Thirteen Masters of Tongguang' must be adapted. If there is something new, it can be performed again. If it is still the same old thing, there is no need to perform it."

Friends who enjoy traditional Peking Opera can buy DVDs or pay to go to the theater to listen to the performance.

We don't need to waste the nation's audience's time on New Year's Eve for the niche hobbies of such a small group of people.

Jiang Yifeng's words were extremely impolite, and the faces of the "masters" on the stage turned pale.

The directors in the audience sat upright, not daring to say much, for fear of getting involved in any trouble.

Jiang Yifeng completely ignored their reactions and said directly, "Next program! Keep the review process tight; efficiency is key!"

Upon hearing this, the Spring Festival Gala production team immediately sprang into action, and the second performance was the song "Glory and Dream".

After watching the program, Jiang Yifeng still said sharply, "This song is not suitable for solo performance. The momentum is too weak and not powerful enough."

A chorus should be sung, preferably a large chorus dressed in military uniforms. Ethnic costumes are unnecessary and far-fetched.

Also, the lyrics need further revision and polishing; they lack grandeur and scale.

The room fell silent. Jiang Yifeng looked around and asked, "Does anyone have any opinions?"

Everyone waved their hands and said no.

"Glory and Dreams" is a special program of the Zongzheng Song and Dance Troupe. Even if people want to give opinions, they discuss it in private. They dare not criticize in such a public setting.

Jiang Yifeng started by criticizing the "Thirteen Great Masters of the Tongzhi and Guangxu Eras" in the Peking Opera circle, and then criticized the program of the Zongzheng Song and Dance Troupe. He was completely sharp and intimidating to the audience.

This is the effect Jiang Yifeng wanted.

He could sense that these directors and planners all had their own agendas, but Jiang Yifeng was too lazy to use his influence to unite them.

Instead, he took swift and decisive action, telling everyone that he was in charge of this year's Spring Festival Gala.

Jiang Yifeng dares to confront even the Peking Opera circle and the General Song and Dance Troupe. Any director who dares not cooperate will be fired.

One should always have some edge, especially in a chaotic setting like the Spring Festival Gala. The more you try to maintain a balance, the more exhausted you will become.

Moreover, Jiang Yifeng has reached his current status and doesn't want to suffer any humiliation. He should be arrogant when he needs to be; being too cowardly will only make people look down on him.

In his next comedy sketches, Jiang Yifeng continued in his own style.

After watching the three crosstalk performances, he said directly, "These crosstalk jokes are old-fashioned, boring, and have no meaning at all."

If all the crosstalk performances this year are of this quality...

Then there won't be any crosstalk performances on this year's Spring Festival Gala; they'll be completely removed!

Everyone found this statement unbelievable.

Since 1983, the Spring Festival Gala has been held for 31 years, and each year it features a crosstalk performance.

Only Jiang Yifeng dares to say that there should be no crosstalk performances on this year's Spring Festival Gala.

After the second review of the Spring Festival Gala, Jiang Yifeng felt that the comedy sketches were too weak, so he planned to copy two sketches to submit for the Gala.

However, controversy arose from the outside world.

First, the masters in the Peking Opera circle launched an attack.

Some gave media interviews, while others posted on Weibo, accusing Jiang Yifeng of having low aesthetic standards, running the Spring Festival Gala like a one-man show, and boycotting the national treasure of Peking Opera.

These people still have some influence, and coupled with the popularity of the Spring Festival Gala and Jiang Yifeng, their remarks quickly sparked heated discussions.

Shortly afterward, Cao Yunjin also said in an interview: "My program was not approved, and director Jiang Yifeng did not like it."

It's not just me, all the crosstalk programs failed to pass the review.

Director Jiang seems to have some reservations about crosstalk as well.

Soon, topics such as "A Spring Festival Gala without crosstalk" and "Jiang Yifeng criticizes Peking Opera" all became trending topics on Weibo and were reported by major media outlets.

These masters were very pleased with themselves, thinking that people would criticize Jiang Yifeng for being domineering and that public opinion would force Jiang Yifeng to back down.

It turned out to be completely different from what I expected.

The vast majority of public opinion supports Jiang Yifeng.

Moreover, Jiang Yifeng directly edited his remarks during the second review of the Spring Festival Gala into a video and posted it online in the name of the Spring Festival Gala program team.

After seeing this, netizens became even more supportive of Jiang Yifeng.

"Director Jiang did a great job! What a national treasure, Peking Opera! It makes me want to sleep!"

"There has been no innovation in Peking Opera over the years. The role of these so-called masters in promoting Peking Opera is not as great as the song 'Talking about Peking Opera Masks'!"

"The Peking Opera is riddled with factions and sects, and has long lost its popular support. The ancestral rules cannot be changed. It's laughable! They're all lackeys!"

"The crosstalk performances on the Spring Festival Gala are getting worse and worse. Last year, Guo Degang's crosstalk performance on the Spring Festival Gala was really awkward and boring."

Since crosstalk isn't suited for the Spring Festival Gala stage, let's go back to the small theater.

"Jiang Yifeng is right. If crosstalk is not interesting, then there is really no need for it to occupy a program slot."

……

Upon seeing these comments, the masters felt as if the world had changed.

With the development of the internet, their voice has become weaker and weaker, and they can no longer occupy the high ground in public opinion as they used to.

(End of this chapter)