值得 2023年9月19日，北京南锣鼓巷一条狭窄的小胡同里，磁场喜剧迎来了一周年生日。内部联欢会上，40 多位演员争相登台，在四方的小舞台上尽情挥洒才情。 在一片喧闹中，剧场主理人张美男第一次有了"值得"的感觉。"一个400多平方米的小剧场，能够聚集那 么多有才华的人，大家都因为在做自己喜欢的事情而由衷地开心。那个时候你会觉得，这个事，值 了！" 2022年，放弃了深耕10年的酒店工作，张美男毅然决然地转向脱口秀。"当时经常去听脱口秀，也尝试 着自己上台去讲。正好赶上了脱口秀行业风口的一个尾巴，线下剧场爆火，1个月差不多能演100场。讲 了4个多月后，我就下定决心，要自己干一个俱乐部。"张美男之于磁场喜剧，是事无巨细的"大家长"， 主理人的称呼对他来说，意味着沉甸甸的责任。 "在这个行业里，你可以把主理人理解为一个剧场经理，或者大场务。从演员排期、演出报批，到演出 内容的把控和复盘；从监测营业数据，到检票、摆凳子、搬货……剧场里每一个琐碎的小问题——哪怕 是一个灯坏了、空调不好用了，都需要主理人去处理。"张美男觉得，称呼本身只是给辛苦的生活包装 了一层华丽的外壳，"其实就是全面的打工人而已"。 经规范调整后， ...

新京报讯（记者杨莲洁）作为脱口秀行业的领军厂牌，笑果的"收麦秀2025"将从今年12月24日起到2026年2月8 日，在全国18座城市，举办近60场演出与活动。童漠男、步惊云、江梓浩等超150组国内优秀的脱口秀演员轮番登 台，共同为观众带来2026年的第一波快乐。 笑果的"收麦秀2025"将为观众带来2026年的第一波快乐。 编辑 黄嘉龄 今年笑果收麦秀的规模，相对较往年周期更长、规模更大、城市覆盖更广，47天超长演出周期跨越圣诞、元旦直 至岁末，演出版图也从北京、上海、深圳等核心城市，进一步拓展到佛山、郑州、珠海、乌鲁木齐等，让更多观 众可以在家门口感受脱口秀的现场魅力。从内容上更是汇聚了脱口秀专场、IP巡演、漫才、即兴喜剧等各种形 式，更有不少全行业的突破与重磅全新内容的首发。 校对 李立军 童漠男的脱口秀专场《寻找王医生·北下关特别版》12月24日起在上海连演4天后，随即将受国家大剧院邀请亮相 新春演出，于12月31日起在北京艺术中心连演三场，与近万北京观众共迎新年。脱口秀行业的头部演员步惊云 等，也将在收麦秀期间，发布自己的全新个人专场与观众见面。此外，"大湾区顶流"江梓浩的粤语栋笃笑《廣東 佬梓浩》 ...

Core Insights - The report outlines the evolution of China's stand-up comedy industry from a niche subculture to a mainstream entertainment form, highlighting its unique industry ecology and development path [11] - The industry has entered a period of adjustment and restructuring post-2023, with a consensus on compliance and professionalism becoming essential for future growth [11][12] Industry Overview - The stand-up comedy industry in China began its development around 2009, with significant milestones including the launch of "Tonight's 80s Stand-Up Comedy" in 2012 and "Roast" in 2017, leading to a boom with "Stand-Up Comedy Contest" in 2020 [11][16] - The industry is characterized by a clear industrial chain, with talent discovery at the upstream level, brand and club operations in the midstream, and content distribution through offline theaters and online platforms at the downstream level [11][29] Market Size and User Insights - The market reached a peak in 2022 but saw a decline in 2023, with expectations for gradual recovery in 2024. The core consumer demographic is primarily Gen Z and Millennials aged 18-34, predominantly urban professionals and university students [2][29] - The industry faces challenges such as reliance on top talent and quality content creation, with content homogenization and creative bottlenecks being common issues [2][12] Industry Characteristics - The industry heavily depends on top-tier talent and content creation, with a pyramid structure where a few stars dominate the market, while many newcomers struggle at the open mic level [25][26] - A dual circulation model exists where online content creation drives offline performance, distinguishing the Chinese market from Western counterparts [27] Future Trends - The industry is expected to enter a diversified development phase post-"Roast Era," with opportunities for regional brands and innovative content forms emerging [2][12] - Trends include the integration of various comedic styles, market penetration into lower-tier cities, and a move towards professionalization and industrialization, with enhanced digital tools for ticketing and fan engagement [2][12][29]

Core Insights - The 11th "Shanghai International Comedy Festival" has commenced, featuring a diverse lineup of performances including stand-up comedy, popular variety shows, and unique local humor [1][3] - The festival will run until January 20, 2024, showcasing over 50 high-quality productions and more than 300 performances from various international comedy troupes, setting a record for the event [1][3] Company Highlights - The local comedy company, Xiaoguo, is set to present a strong lineup at the festival, featuring both popular IPs and innovative formats [3] - Xiaoguo's hit variety show "Stand-Up with Friends 2" has toured 23 cities with over 64 sold-out performances, returning to Shanghai for four shows from December 5-7 and December 30-31 [3][5] - Notable performers include Xu Haolun and Tan Xiangwen, along with other popular comedians appealing to younger audiences [3] Performance Details - Xiaoguo will feature several acclaimed stand-up specials, including Hulan's "Grass Stage Troupe" and Tong Monan's "Finding Dr. Wang: North Down Special Edition," which focuses on adult happiness [3][5] - The festival will also highlight regional humor with performances like Haha Cao's "Changsha Pot Fish Banquet" scheduled for January 2026 [5] Brand and Collaboration - Xiaoguo's various brands will participate in the festival, including "Happy Together: Stand-Up Friends Season" and the female-focused brand "Three Good Sisters," which resonates with emotional themes [8] - The comedy space "Goat GOAT" will introduce new specials featuring talented comedians from across the country [8] Online and Offline Integration - Xiaoguo's online success has translated into offline popularity, with "Stand-Up with Friends 2" achieving over 3.7 billion views and over 3,000 trending topics online [10] - The company has established a multi-tiered structure of "brand + theater + tour," enhancing the normalization of comedy culture in urban life [10] - This year, Xiaoguo aims to conduct over 600 offline performances, reaching nearly 500,000 audience members, significantly contributing to cultural consumption [10] - A partnership with the Shanghai Oriental Art Center has been formed to create the "Joy Gathering Oriental" brand, focusing on comedy innovation and talent development [10]

Core Viewpoint - The entertainment industry, particularly the stand-up comedy sector, is experiencing significant growth, filling the void left by the declining movie market, especially in lower-tier cities [12][15]. Group 1: Cinema Industry - Recent openings of multiple cinemas in close proximity indicate strong investor confidence in the entertainment sector [1]. - Despite improved hardware in new cinemas, attendance remains low, with only a few viewers per screening [2]. - The movie market has seen a shift, with ticket sales in lower-tier cities surpassing those in higher-tier cities for the first time, reaching 51% of total box office revenue during the 2025 Spring Festival [10][13]. Group 2: Stand-Up Comedy Market - Stand-up comedy performances are on the rise, with major cities like Shanghai and Beijing hosting numerous shows, while smaller cities lag behind [5][12]. - In 2024, Shanghai is expected to host 15,000 stand-up comedy shows, averaging 41 shows per day, with a significant increase in ticket sales and performance frequency [7]. - The stand-up comedy sector has become the second-largest category of theater performances, with a 134.9% increase in ticket sales year-on-year [7]. Group 3: Market Dynamics - The decline of the movie market contrasts with the rise of the stand-up comedy market, highlighting a shift in entertainment preferences [13]. - The stand-up comedy industry is characterized by lower operational costs and risks compared to traditional film investments, making it an attractive option for investors [15]. - The accessibility of stand-up comedy has increased, allowing more individuals to participate in the industry, thus lowering the barriers to entry for performers [15].

Core Insights - The article highlights the challenges and aspirations of a small comedy brand, "Tsunami Comedy," founded by a local named Kele in Pingdingshan, who aims to make stand-up comedy accessible to everyone [1][2][25] - Despite initial success, the brand faces difficulties in maintaining audience engagement and profitability in a small city environment [1][19][25] Group 1: Business Operations - Kele invested 500,000 yuan to establish two comedy venues in Pingdingshan and Xuchang, employing over ten comedians [1][25] - The initial ticket sales were promising, with 120 tickets sold in under four hours, but audience numbers have since dwindled to single digits for some shows [1][9][25] - Kele's current goal is to have at least 30 attendees per show to achieve a sustainable operation [1][25] Group 2: Audience Engagement - The comedy shows often attract first-time attendees, making it challenging for performers to engage the audience effectively [4][5] - Audience feedback has been mixed, with some expressing surprise at the quality of performances despite initial skepticism about comedy in a small city [5][17] Group 3: Challenges in the Comedy Industry - The local comedy scene suffers from content homogenization, talent loss, and profitability issues, making it difficult for Kele to sustain the business [1][14][25] - Kele has sought training in major cities to improve the quality of performances, incurring significant costs in the process [14][19] Group 4: Financial Sustainability - The venues often operate at a loss for several months each year, with Kele relying on weekend performances to supplement income [20][22] - The economic pressure is a significant concern, as the costs of rent, utilities, and actor salaries often exceed revenue [19][20] Group 5: Future Aspirations - Kele plans to expand the brand by opening additional venues and conducting tours in surrounding areas, aiming to build a stable audience base [25] - The long-term vision includes nurturing local talent and creating a sustainable comedy culture in smaller cities [25]

Core Insights - The summer of 2023 saw a surge in popularity for stand-up comedy, particularly with the release of two major shows, "Comedy King Stand-Up Season 2" and "Stand-Up with Friends Season 2," which generated significant online engagement with a total reading volume of 8.15 billion on Douyin [1] - The success of these shows has led to a booming live performance market, with tickets for related events selling out rapidly, indicating a strong demand for live comedy experiences [1] - However, the industry is facing increased competition as many new clubs and brands emerge, leading to a more challenging environment for performers and venues that cannot adapt to changing audience expectations [1][2] Industry Trends - Following the conclusion of the comedy shows, at least 26 groups of performers are set to launch personal or collaborative performances in 2024, with ticket prices significantly higher than average, indicating a shift towards quality over quantity in the industry [2][22] - The audience for stand-up comedy is becoming younger and more urbanized, with 75% of fans aged 18-34, which is influencing the content and themes of performances [3][8] - The competition among comedians has intensified, with a focus on addressing contemporary social issues, leading to a phenomenon referred to as "internal competition" within the industry [8][15] Audience Engagement - The audience's increasing expectations for content quality and relevance are pushing comedians to explore deeper societal themes, which has resulted in a more diverse range of topics being covered in performances [15][24] - The online popularity of comedians is translating into ticket sales, with top performers commanding higher prices based on their social media following, creating a tiered pricing structure in the market [20][21] Market Dynamics - The stand-up comedy market is experiencing a bifurcation, where top performers are thriving while many smaller clubs struggle to remain profitable, particularly in lower-tier cities where the market is saturated [22][27] - The industry is at a crossroads, facing challenges such as talent shortages, content repetition, and varying performance quality, which are complicating the path to profitability for many venues [24][27] - There is a pressing need for standardized practices and the cultivation of new talent to ensure the sustainability and growth of the stand-up comedy sector [27][28]

Core Viewpoint - The article discusses the ongoing controversies surrounding Chinese stand-up comedy shows, particularly focusing on the differences between stand-up performances and variety shows, and how these differences lead to audience expectations and industry challenges [7][10][38]. Group 1: Industry Dynamics - The rapid development of stand-up comedy in China has been heavily influenced by media and capital, contrasting with the historical evolution of stand-up in the U.S. [11][12]. - Major companies like Xiaoguo Culture and Tencent Video have established themselves as key players in the industry, shaping the landscape and creating a monopolistic environment for talent and content [15][17]. - The industry faces a structural imbalance where the "symbolic capital" of performers increases rapidly, while the "cultural capital" (true creative ability) does not grow at the same pace, leading to a disconnect between fame and skill [18][19]. Group 2: Audience Expectations - The audience's expectations have shifted towards seeking emotional resonance and quick, relatable content, often at the expense of deeper narratives and complex humor [26][30]. - The rise of platforms like Douyin and Xiaohongshu has changed the way comedy is consumed, favoring short, impactful statements over longer, structured performances [22][24]. - This shift has led to a demand for authenticity in storytelling, with audiences applying everyday logic to judge the performances, which can create conflicts with the artistic nature of comedy [27][31]. Group 3: Content Creation Challenges - The commercialization of comedy has led to a homogenization of content, where creators may prioritize market-driven topics over genuine artistic expression, resulting in audience fatigue [28][30]. - The focus on easily digestible content has marginalized more complex and provocative themes, limiting the scope of discussions within the comedy genre [25][29]. - The article highlights the tension between the artistic world of comedy and the everyday world of audience expectations, which can lead to misunderstandings and disputes [10][31]. Group 4: Future Outlook - As the industry matures, there is a growing recognition among performers that online and offline comedy are fundamentally different, leading to a potential decline in participation in online formats [37][38]. - The article suggests that for stand-up comedy to thrive, it must navigate both online and offline spaces effectively, adapting to the unique demands of each environment [39].

Group 1 - The term "主理人" (main person) is widely used across various industries, including the stand-up comedy scene, coffee shops, and bars in Shanghai [1][3] - The role of a "主理人" is ambiguous, with no clear definition whether it refers to a boss, partner, or manager [2][3] - The term can be applied to various positions within organizations, suggesting a flexible interpretation of roles and titles [3][4] Group 2 - The author expresses a preference for the term "主理人," indicating that it can be used for various roles, including legal positions and leadership titles [3][5] - There is a critique of the notion that certain titles should be reserved for specific individuals, arguing against a rigid hierarchy in naming conventions [5][6] - The term "假精致" (false sophistication) is mentioned, indicating that some view "主理人" as a representation of this concept, leading to its negative perception [6][7]

Core Insights - The rise of stand-up comedy shows is rapidly capturing the short video market, with platforms like Douyin (TikTok) becoming key channels for promotion and audience engagement [1][6][17] Group 1: Show Impact and Audience Engagement - Stand-up comedy shows like "脱口秀和Ta的朋友们" and "喜剧之王单口季" have gained significant popularity, with individual performers like "小帕" and "房主任" achieving over 200 million and 6 billion views respectively on Douyin [1][3][5] - The official accounts of these shows distribute highlight clips across various platforms, leading to increased follower counts for participating comedians, with some gaining over 300,000 followers during the airing period [5][7] Group 2: Short Video Adaptation - The format of short videos aligns well with the quick, punchy nature of stand-up comedy, allowing audiences to quickly grasp humor in just a minute or even a single quote [8][9] - The most popular stand-up videos are predominantly clips from shows, with a focus on female-centric themes that resonate with viewers, contributing to the rise of new female comedians [8][9] Group 3: Revenue Generation and Ticket Sales - Short video platforms have become crucial for ticket sales, with some clubs reporting that up to 40% of their revenue now comes from Douyin, surpassing traditional ticketing platforms [17][24] - The trend indicates a shift where short videos serve not just as promotional tools but also as primary sales channels for comedy clubs, especially in smaller cities [24][26] Group 4: Industry Dynamics and Challenges - The pathway to success in the stand-up comedy industry is narrowing, with only a small number of clubs able to produce comedians who reach mainstream shows, leading to revenue declines for many smaller venues [19][24] - Despite the challenges, many clubs are adapting by leveraging social media for marketing and ticket sales, indicating a shift in operational strategies within the industry [22][24]