今天分享的是：2025脱口秀行业现状与发展趋势报告-嘉世咨询 报告共计：38页 中国脱口秀行业发展现状与趋势总结 中国脱口秀行业在过去十年间完成了从边缘亚文化到主流娱乐形式的跨越，又经历了深度调整与重塑，形成了独特的行业生态 与发展路径。 行业发展始于2009年前后的萌芽探索，2012年《今晚80后脱口秀》完成电视端启蒙，2017年《吐槽大会》实现网络综艺破圈， 2020年《脱口秀大会》第三季推动行业爆发，成为都市青年主流文化消费选择。2023年后，行业进入调整重塑期，合规化、专 业化成为发展共识。其兴起离不开政策、经济、社会、技术多因素支撑，居民精神文化消费需求提升、都市青年压力释放诉 求，以及长短视频平台的传播助力，共同构成了行业发展的基础。 行业已形成清晰的产业链体系，上游以开放麦为人才挖掘核心，通过训练营和读稿会完成人才培养与内容生产，呈现金字塔型 人才结构；中游以厂牌和俱乐部为核心，承担艺人经纪、内容制作与演出运营职能，笑果文化、单立人喜剧等机构各具特色； 下游通过线下剧场与线上平台实现内容分发，形成"线上造星引流、线下演出变现"的双循环模式。 市场规模方面，2022年达到阶段性顶峰后，2023年出 ...

脱口秀演出矩阵悉数亮相喜剧节 今年的上海国际喜剧是一场持续至明年1月20日的欢笑盛宴，汇聚了50余部全球优质剧目，超300场演出，包括了来自匈牙利、日本、意大利、西 班牙等地多地喜剧团的首演创下历届数量纪录。 作为上海本土培育出的喜剧公司，笑果此番也将为喜剧节量身打造最强演出阵容，既有口碑IP，又融入了多种类型创新。 在今夏引发全民关注的爆款综艺《脱口秀和Ta的朋友们2》，线下巡演至今已走过23座城市，超64场演出，场场爆满。这一次，脱友2的线下巡演 将特别重返上海，在12月5日—7日，12月30日—31日为上海观众带来超过4场演出，包括曾登上春晚舞台的徐浩伦和谭湘文，以及毛豆、贾耗、大 国手、SEVEN等一批深受年轻观众喜爱的脱口秀演员都将轮番登场，综艺卡司齐聚重温夏日欢乐，将荧屏上的欢乐延续至线下剧场。 笑果的众多爆款脱口秀专场也将亮相喜剧节。诸如呼兰的个人脱口秀专场《草台班子》、童漠男《寻找王医生·北下关特别版》，以及独特的粤语 脱口秀江梓浩《廣東佬梓浩》等，此前在各地巡演中不断积累口碑，成为喜剧迷心中的 "必看清单"， 其中，童漠男《寻找王医生・北下关特别版》聚焦成年后探寻快乐的命题，将在12月24日 ...

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]

Core Viewpoint - The article discusses the challenges and transformations within the stand-up comedy industry in China, particularly focusing on the impact of popular variety shows on the market dynamics and the necessity for clubs to have star performers to survive in a saturated environment [5][30]. Group 1: Industry Growth and Challenges - The stand-up comedy market in China saw rapid growth from 2018 to 2022, with market size increasing from 720 million to 3.23 billion yuan, reflecting a compound annual growth rate of 45.8% [9]. - The initial success of shows like "Roast" and "Stand-Up Comedy Competition" led to a surge in the number of comedy clubs and performers, with many clubs opening in major cities [11][12]. - However, by 2023, the market became oversaturated, leading to a decline in profitability for many clubs, with some closing within months of opening [13][26]. Group 2: Impact of Star Performers - The presence of star performers from popular shows has become crucial for clubs to attract audiences and generate revenue, as many clubs without such talent struggle to survive [30]. - Clubs like "Xifan Comedy" have benefited from the popularity of their signed performers, leading to increased ticket sales and audience engagement [16][19]. - The competition for visibility and success has intensified, with only a small number of performers gaining significant exposure through major variety shows, making it difficult for the majority to break through [17][30]. Group 3: Evolution of Business Models - Comedy clubs are increasingly shifting towards a talent agency model, focusing on nurturing and promoting performers to become stars, which is essential for sustaining their operations [19][30]. - The industry is witnessing a trend where clubs must not only host performances but also actively manage and develop their talent to ensure long-term viability [30][38]. - Clubs are implementing various strategies, such as hosting competitions and open mic events, to discover and cultivate new talent, although the process remains challenging and time-consuming [34][37]. Group 4: Future Outlook - The article suggests that the industry may stabilize by 2024, but the focus will remain on securing star talent to drive ticket sales and audience interest [14][15]. - The rise of social media and short video platforms presents new opportunities for comedians to build their brands and reach wider audiences, which clubs are beginning to leverage [39][40]. - Despite the challenges, the passion for stand-up comedy remains strong among many performers and club owners, indicating a resilient spirit within the industry [20][41].

Core Viewpoint - The stand-up comedy market is experiencing significant growth, particularly in lower-tier cities, driven by popular online shows and an influx of new talent [4][11][18]. Group 1: Online and Offline Market Dynamics - The popularity of Tencent's "Stand-Up Comedy and Its Friends 2" and iQIYI's "Comedy King Stand-Up Season 2" has peaked audience interest in the stand-up comedy market, with market shares reaching 11.45% and 9.04% respectively [4]. - The rise of new stand-up comedians has invigorated the online scene, which in turn has positively impacted offline performances, leading to a surge in live shows [6][10]. - The number of open mic events in Beijing has increased by at least 30%, indicating a growing interest in live performances [5]. Group 2: Audience and Revenue Insights - The audience for offline shows is becoming more diverse, with many first-time attendees, while established venues attract a more targeted audience [9][13]. - Ticket prices for stand-up shows in lower-tier cities are generally around 50 yuan, which is about twice the price of a movie ticket [12]. - Stand-up comedians in lower-tier cities typically earn around 100 yuan per performance, with full-time comedians being rare due to insufficient income [13][16]. Group 3: Industry Challenges and Opportunities - The stand-up comedy industry is witnessing a divide, with top-tier clubs and brands capturing most of the audience and revenue, while new entrants struggle to achieve profitability [18]. - The survival of many clubs in lower-tier cities is uncertain, with some operators reporting no return on investment after three years [16]. - The industry is evolving, with comedians increasingly leveraging social media and short videos to build their personal brands and attract audiences [17].