type of folk art. Also known as "funny". Popular in Shanghai, Jiangsu, and Zhejiang, performed in dialect. The one-legged drama emerged around 1920. In the early days, it was mostly performed by one person. In terms of art, it was influenced by the popular rap forms such as "Xiaorehun", "Singing News", and "Next Door Drama" in Jiangsu, Zhejiang, and Shanghai. Wang Wuneng, an artist in the founding period of the one-legged drama, once played the clown in civilized drama. Jiang Xiaoxiao and Liu Chunshan also had their own specialties. At that time, they were called the "Three Great Comedies". Their performances also absorbed some of the performance techniques of civilized drama and crosstalk, forming a combination of "rap" and "funny". They were performed and broadcasted in theaters, amusement parks, and radio stations, and quickly became popular among the masses, thus making the one-legged drama an independent genre. In the early days, the monologue was mostly about ventriloquism and singing. Later, it developed "Learning Radio", "Learning Drama", "Waiters from Various Places", "Closing Shop Auction" and "Jin 1", "Seventy-two Tenants", "Afu Goes to Business" and "Dingba", "Guan Wang" and other programs, which mainly focus on "speaking" to express the stories of characters. "Speaking", "Learning" and "Singing" are similar to northern crosstalk in many ways, while "acting" is mainly about directly playing the characters, performing the plots and dialogues of the works on the stage, and the performance is exaggerated. The language and dialogue of the characters are similar to the "burden" of crosstalk to create jokes, and the comedy effect is strong. This "acting" method has gradually penetrated into the programs that focus on speaking, learning and singing, and has become an important artistic means. Monologue is now generally performed by two people, and there are also one or three people performing together. After the founding of the People's Republic of China, one-man drama actors carried out a lot of artistic reforms and practices, and compiled a number of excellent traditional programs, such as "Investigating Household Registration", "Ningbo Musicians", "Flooding the Seven Armies", "Pulling Rickshaws", "Seventy-two Tenants", etc. Most of them have been collected in the book "Selected One-man Dramas" published in 1963. At the same time, many new works reflecting real life have been created, such as "Watching Movies", "Two Barbers", "Laughing and Crying", "Who Married Boyi", etc. One-man drama refers to a humorous performance form in which a single person directly faces the audience. A public one-man show is usually a part of a live comedy (temporarily translated from Stand Up Comedy), just like the opening of "The Tonight Show". In a one-man show, the actor cannot be alone. Of course, the support group (in the theater or movie) will not speak. When the actor is alone, his thoughts may be sharp, but this is self-talk, not monologue. One-man show is an independent art form, but it is usually attached to a larger, dialogue-based program, which provides another angle for the relationship between things and the audience and is used to analyze the essence of a thing. The original "doing" (acting in exaggerated roles) characteristics of one-man show have been deeply developed and strengthened; on the other hand, some excellent excerpts from comedy plays have become the source of new one-man show repertoires. Xiaoxiao Troupe has become the cradle for cultivating one-man show actors. Over the years, comedy actors have come and gone in an endless stream. During this period, Tang Xiaofei, Zhu Xiangfei, Bao Yifei, Xiaoxixi, Yuan Yiling, Yang Xiaofeng, Zhu Peisheng, Wang Sen, Xiao0, Xiao Kuai, Yang Liucun and others attracted the attention of the audience. Yao Mushuang, Zhou Baichun, Cheng Xiaofei, Xiao Liuchunshan, Yu Xiangming, Tian Lili, Zhang Zuidi and others also stood out. This group of accomplished artists returned to the quyi position after the victory of the Anti-Japanese War in 1945 and the revival of the market. Zhang Qiaonong and Yang Huasheng, who had been trained in the anti-Japanese drama troupe for many years, also came to Shanghai a few years after the victory of the Anti-Japanese War and joined the one-man drama troupe. Many one-man drama actors had a few years of "drama career" and developed a passion for acting. They mainly performed one-man dramas, occasionally performing comedy, and became amphibious actors of opera and drama. During the Anti-Japanese War, one-man opera actors not only compiled and performed a large number of songs to promote anti-Japanese and patriotic activities, such as "Bao Gong's Trial of Baichuan" and "Western Scene", but also participated in many city-wide charity performances for disaster relief, such as the "Flood Relief Entertainment Meeting" (1936), the "Jiangsu Relief Association Fundraising Broadcasting Meeting" (1938), the broadcasting and publicity conference for the completion of Shanghai Children's Relief 1 (1939), the charity broadcasting conference for the relief of Zhongshan refugees (1940), and the "Shanghai Welfare Association to raise public welfare funds" "Comedy Conference Series" (1944). On the eve of the founding of the People's Republic of China, Yao Mushuang, Zhou Baichun, Cheng Xiaofei, Xiao Liuchunshan, Yu Xiangming, as well as Yang Huasheng, Zhang Qiaonong, Xiao Xixi, and Shen Yile became the three popular one-man operas. . Yao Mushuang and Zhou Baichun pursued new trends in their programs, and their stage styles were full of bookishness. Their representative works, such as "English Translator" and "Ningbo Musicians", were compiled and performed or inherited from their predecessors. Cheng Xiaofei had outstanding singing skills and learned the nine tunes and eighteen tunes vividly. His representative works included "Opening the Radio" and "Miss Shaoxing". Yang Huasheng and Zhang Qiaonong's works focused on introducing new content, and brought "Western Scene" from the mainland, as well as "Dingba" by Xiao Xixi and Shen Yile. At that time, some successful one-legged actors used folk radio stations as their first battlefield, and halls and restaurants as their second battlefield. They rarely performed in amusement parks, and only appeared as famous actors in places such as the Great World during charity performances. "Singing Radio" built a bridge between actors and audiences. Actors broadcast every day and listeners hear their voices every day.