Quyi was one of the hardest hit areas in the ten-year catastrophe of the "Cultural Revolution" experienced by the whole country. Perhaps because of this, in the movement of smashing and exposing the Gang of Four, which marked the basic end of the "Cultural Revolution", the art of Quyi broke out with a strong voice and gave off the power of youth. It can be said that the artistic revival of Quyi after the "Cultural Revolution" was accompanied by the liquidation of the ultra-left line.
The comic dialogue art with ironic tradition is particularly prominent at this historical juncture. The Hat Factory created and performed by Chang and Chang Guitian, The Unfinished Meeting created by Hou and Fang Cheng, The Stage Storm created by Ma Ji and Xijun, Photographing and Fake Sky created by He Jin and others. We should seize the historical opportunity and express the voice of the people. In particular, the cross talk counterpart program "So Taking Pictures", co-edited by Jiang Kun and Li Wenhua, has a unique concept and rich connotation, revealing the historical tragedy of famine years, which is thought-provoking. The ideological and artistic nature of taking pictures in this way enhanced the effect of aesthetic creation, and at the same time, it also achieved the artistic reputation of Jiang Kun, who later became a famous crosstalk performer, and established the artistic position of Jiang Kun's crosstalk creation and performance.
After the revival of Quyi in this period, the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was successfully held, the central work of the country clearly turned to economic construction, and the revival of Quyi also turned to a more rational stage. 1979 marked by the convening of the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China, it was not only a year when the country brought order out of chaos in an all-round way, but also a year when the cause of Quyi was on the right track after the Cultural Revolution. Liu Lanfang (1944-) of Liaoning Anshan Quyi Troupe cooperated with her husband Wang Yinquan to re-create the traditional ballad Yue Fei Zhuan, which was recorded and broadcast by Anshan People's Broadcasting Station, causing great repercussions in Northeast China. Subsequently, 66 radio stations across the country played this ballad one after another. For a time, many places had a grand occasion when the radio broadcast "The Biography of Yue Fei", and the streets were sparsely populated. As a result, the storytelling Biography of Yue Fei became a typical example of the success of traditional long books after the Cultural Revolution. After the Third Plenary Session of the Eleventh Central Committee, with the shift of the national central work to economic construction and the gradual implementation of the reform and opening-up policy, the creation and performance of Quyi have been further prosperous, art education and research have been on the right track, books and periodicals have been published more actively than ever, and art exchanges have been expanding day by day. As a result, Quyi has made unprecedented new development. In this context, the development of cross talk in the new era is particularly eye-catching.
In sharp contrast to the popularity of cross talk, the vast majority of Quyi varieties in the new period are developing steadily along their own laws. The restoration of traditional tracks and bibliographies is unprecedented, and some traditional programs that have been circulated for thousands of years have been almost moved around or even performed without analysis during this period. In addition, there are some excellent traditional long ballads and ballads, such as Water Margin in Yangzhou, Romance of the Three Kingdoms in Suzhou, Tanci in Suzhou, Rebirth, Xing's ballads, Yue Fei's Biography, Yang Jiajiang, Hu Jia Jiang, Ming Ying Lie, etc., as well as Shandong's long and quick ballads. The creative achievements of new music books are also outstanding. Qiu's long Suzhou Tanci Jiulongkou, Xia Yun's long Yangzhou storytelling Advance into Northern Jiangsu, Xu's novella Suzhou Tanci True Feelings, Fan Naizhong's novella Tanci Matchmaking, He Zuohuan's long Hubei storytelling Yangliuzhai, Niu Niu and Li Peisen's cross talk Threatened, and performances, except for the constant emergence of new people in various places. For example, on 1986, Luo Yusheng, a performer of Jingyun drum, sang the theme song "Reviving the Rivers and Mountains for the Younger Generation" with Jingyun drum music, which made him familiar with the art of Jingyun drum with more domestic audiences, especially the younger generation. So that the audience can further appreciate the unique charm of Jing Yun drum art, and at the same time expand the influence of the whole folk art in the country.
Great progress has been made in the research of Quyi in this period. Exploring the law of creation and performance of Quyi itself, so that its development is no longer blind, is a remarkable symbol of historical theory research in this period. 1986 The formal establishment of Quyi Research Institute of China Academy of Art marks the formal development stage of Quyi research. Quyi art has experienced the baptism of its own development and innovation for more than 20 years of reform and opening up, and is entering the 2 1 century with a diversified pattern and a brand-new look.