（来源：上观新闻） 大年初四晚，上海文化广场外排起长队，上海脱口秀演员71的沪语单口喜剧专场《小巴辣子》即将开 场。一个人、一支麦，从初四演到初七，近8000张门票刚开票便一售而空。 "听71的沪语脱口秀，就好像邻里间'嘎讪胡'一样亲切。""95后"观众李悦和表姐相约而来，"在年夜饭、 豫园灯会之外，和家人朋友看一场脱口秀，在欢笑中过年，也算是一种年轻人的'新年俗'。" 今年春节，上海脱口秀演出市场火爆，其中最热门的当属沪语脱口秀。除了《小巴辣子》，沪语脱口秀 《310集合》先后在九棵树未来艺术中心和云间剧场上演。上海滑稽剧团在兰心大戏院上演的《马踏祥 云闹新春》则将独脚戏、上海说唱与脱口秀融为一体。亲切感十足的沪语、鲜活幽默的段子，为上海的 春节增添了浓浓的笑声与暖意。 大年初四晚，71沪语单口喜剧专场《小巴辣子》在上海文化广场上演 "小巴辣子"开麦，听见上海的烟火气 71的沪语脱口秀能火起来，离不开他的"特别秀"——门票几乎场场秒空，观众来自全国各地，甚至海 外。"特别秀"之所以特别，在于其即兴与鲜活，如同开盲盒一般。他就像个"现场炒菜"的大厨，从不提 供"预制菜"，观众给他什么"食材"，他就炒什么"菜" ...

三脚猪喜剧成立的那年，官方推文这样介绍主理人戴为： "《脱口秀大会》第二季卡司，某外企前研发技术员，美国街舞比赛战胜过黑人的popping舞者，二胎父 亲。能凑齐这四个互不打扰的title，经历和精力都不是一般人。" 这不一般的经历和精力让戴为的段子亦与众不同。在脱口秀的节目里，他操着一口纯正的"广普"，讲当 代打工人的生活，讲身为父亲的心声，观察细致，角度犀利。节目外，他过着"7天24小时无休"的创业 生活，他创立的三脚猪喜剧经过四年的发展，在深圳扎根，稳健生长。 从2017年戴为第一次踏上脱口秀的舞台，到2022年初创立三脚猪喜剧，再到如今拥有福田KK ONE和南 山华侨城两家场馆，戴为和三脚猪喜剧的成长轨迹，也是广东脱口秀行业近十年发展的缩影，可视为脱 口秀的在地生长样本。近日，三脚猪喜剧入选"广东省演艺新空间展演季"，南都N视频记者借此契机专 访戴为，听他讲述个人和厂牌的生长之路，以及对广东脱口秀生态的观察与思考。 创业缘起 在风口之上，开启充满未知的喜剧事业 戴为对脱口秀最早的印象，来自小时候在电视上看到黄子华的栋笃笑表演。当时他只是"觉得好玩"，还 特意租来DVD，观看黄子华的专场。直到2010年 ...

出现场。主办方供图 中国青年报客户端讯（中青报·中青网记者 沈杰群）日前，"笑果收麦秀2025"在上海落下帷幕。从2025 年12月24日起，这场跨越47天的喜剧盛宴，走过国内20多座城市与新加坡，近10万观众走进剧场。 今年的"收麦秀"将演出版图从北京、上海等核心城市，延伸至佛山、郑州、乌鲁木齐等。24座城市、81 场演出、超过250组演员登台。脱口秀专场、IP巡演、漫才、即兴喜剧轮番上阵。 出现场。主办方供图 脱口秀演员们的个人专场成为"喜剧新势力"。在今年的"收麦秀"中，梁海源开启了全新的个人专场《天 才的三个夜晚》，步惊云的全新个人专场《母老虎》也在上海拉开序幕。此外，"大湾区顶流"江梓浩的 粤语栋笃笑《廣東佬梓浩》、哈哈曹的《长沙盆鱼宴》、荒岛人气王的《宇宙中心是荒岛》等专场也在 全国多座城市开演。童漠男的专场《寻找王医生·北下关特别版》受邀登陆国家大剧院。 脱口秀演 "2026年，我们还会继续更新内容、制作和体验，优化为观众、为社会服务的核心逻辑，期待能够为大 家带来更好的演出、更多笑声。"专场制作人赵双治说。 来源：中国青年报客户端 脱口秀演 ...

Core Viewpoint - The article discusses the evolving landscape of literature and reading habits, emphasizing the contrast between traditional literary appreciation and the rise of short video content consumption, while highlighting the enduring value of literary works in providing happiness and understanding [4][5][6][7]. Group 1: Literature and Reading Trends - The author reflects on the decline in traditional reading habits, noting that many people now prefer short videos over books, which raises questions about cultural shifts in consumption [4][5]. - There is a growing trend where non-fiction and social science books are more popular than literary works, with a recent book review event featuring no literary titles among the finalists, which surprised the author [6][7]. - The article suggests that while entertainment formats like stand-up comedy aim to please, literature seeks to provide deeper experiences of happiness and understanding [7]. Group 2: Personal Reflections on Literature - The author shares a personal connection to literature, citing Harold Bloom's final work, "The Bright Book of Life," as a source of inspiration and happiness, reflecting on the impact of beloved novels [7]. - The article emphasizes that reading great literary works is about learning to love and understand, which is valuable regardless of any expected returns [7]. - The author encourages a more courageous approach to love and understanding in the new year, inspired by the insights gained from literature [7].

Core Insights - The term "主理人" (main operator) has evolved from being associated primarily with trendy brands and coffee shops to being embraced by a growing number of young entrepreneurs, indicating a shift towards a more personalized and responsible approach to business [1][8] - The rise of the "主理人" economy reflects a trend towards small, specialized, and aesthetically pleasing individual businesses that are becoming a new urban landscape [1][8] Group 1: Industry Trends - The "主理人" concept signifies a blend of responsibility and hands-on involvement, contrasting with traditional notions of a boss, and emphasizes the importance of product knowledge and customer engagement [1][5] - The comedy industry, particularly in the context of small theaters, is experiencing a "洗牌期" (reshuffling period), where only those truly committed to the craft will thrive, highlighting the need for quality content as a competitive advantage [3][8] - The emergence of unique product combinations, such as "煎饼果子 + 咖啡" (Chinese pancake + coffee), showcases the innovative spirit of "主理人" in catering to local tastes and trends [3][4] Group 2: Entrepreneurial Experiences - Zhang Meinan, a theater operator, emphasizes the multifaceted role of a "主理人," which includes managing everything from performance schedules to customer feedback, underscoring the hands-on nature of the job [2][3] - Chen Jiawen, a coffee shop owner, differentiates the "主理人" from a traditional boss by highlighting the need for direct engagement with customers and operational challenges, fostering a more relatable business persona [5][6] - Zhang Yu, who transitioned from a failed restaurant venture to a successful vintage clothing business, illustrates the importance of industry knowledge and adaptability in evolving market conditions [6][7] Group 3: Future Outlook - The "主理人" economy is viewed as a sustainable business model that prioritizes depth and longevity over rapid expansion, with a focus on building brand identity and community [8][9] - Future plans for entrepreneurs include enhancing personal branding, expanding product offerings, and leveraging online platforms for growth, indicating a strategic shift towards digital engagement [8][9] - The emphasis on product and service quality as the ultimate value proposition is seen as essential for the long-term success of the "主理人" economy [9][10]

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]