【新唐人2011年10月7日讯】大陆两代相声演员姜昆与郭德纲互相暗讽，成为最近艺术圈的笑柄。姜昆质疑郭德纲在道德和伦理上出现问题。对此，郭德纲不仅在网络上回击，更以打油诗回应。外界认为口水仗，历来是娱乐圈的重头戏。但艺术学者认为，需要改革的是制度。请看报导。
9月28号，姜昆参加“2011广州市高级文艺人才理论研修班”讲座中说，“现在郭德纲在网上闹那么多事情，在道德、在伦理上，出现这么多问题，我搞不懂为什么那么多人喜欢他？”
郭德纲作了首诗隐晦的表态，诗的开头写道：“楚河两岸硝烟障，从来暗箭起同行”。
中国艺术研究院学者吴祚来认为，现在中国的体制问题，致使同行造成误解，互相打击。
吴祚来：“这个国家应该怎样去保全这个艺术是个很大的一个问题。一个方面是不让人家去分两批，不要让这些有才华的艺术家去当官。或者有在制度上不要去害这些有才华的艺术家。另外，你对于民间艺术家，你如果希望他高雅起来，你应该给他基金扶持。所以国家这个制度，文化政策有很大的问题。需要改革的是制度，这两个人顶吵实际上是必然的，也是没有太大的意义。”
10月3号，郭德纲在单口相声《济公传》的演出中，藉济公之口再度回应此事。当时，郭德纲正讲起济公要给宋高宗和太子治病时，他突然说道，“这时一个太监指着济公说：你道德上有问题！济公回头说：’这是哪个太监说的！”顿时，听出弦外之音的观众在剧场“噫”声一片。
大陆诗人、文化评论家叶匡政认为，郭德纲讲的非常对，本来相声作为喜剧里的一种形式，应该针对社会权力意识批判，才能被民众喜欢。
叶匡政：“因为喜剧里原来包括相声也好，或者各种喜剧的方式，他都会对这种权力的批判，表示对权利的批判、讽刺，对权贵的这种批判，应该讲是一个非常重要，在中国里，尤其是这种极权比较浓厚的国度，应该说是它的主要一个方向。也就是讲，民众之所以欢迎喜剧，是因为它们在，我们看的很多声音都有它背后的批判。”
叶匡政表示，中国现在为什么相声走向没落，很大一个原因是中共当局维护唱赞歌的演员，打压唱负面的演员。而，艺术研究院学者吴祚来认为，如果艺术家没有为社会贡献真正的艺术作品，就是一种犯罪，是一种失职。
新唐人记者秦雪、唐睿、薛莉采访报导。
”Which Eunuch Said This!”
Insinuation between Jiang Kun and Guo Degang, China’s
crosstalk comedians, has become a subject for laughter
in the entertainment circles.
Jiang Kun questioned Guo Degang’s morality and ethics,
Guo fought back online even posting ragged verse poetries.
Opinions said that bickering has always been a highlight
in the entertainment circles. But art scholars comment that
this reflects the necessity to reform the institution.
At 2011 Guangzhou Seminar of Advanced Theory Training
for Senior Literary And Art Talents on September 28,
Jiang Kun brought up a question,
“Guo Degang has made so much troubles online so far,
on the topics of morality and ethics,
I just don’t understand why so many people like him?"
Guo Degang responded by writing a poem
with the following first two verses:
“Gun smoke screen rose above Chu River banks,
hidden arrows sprayed from peers all along.”
Wu Zuolai, a scholar at China Art Research Institute,
believes that China’s institutional problems
are what triggers the misunderstanding
and mutual attack among peers.
Wu Zuolai: “How to preserve a nation’s arts is a big issue.
Firstly, do not intentionally divide artists into two categories.
Do not turn those talented artists into officers,
but protect them from getting hurt by institutions.
And then, if you want those folk artists to advance,
you should offer funds to support them.
There are some big problems with China’s cultural policies.
It is the institution that needs to be reformed.
The bickering between these two is inevitable,
and yet meaningless.”
Guo Degang responded again in his monologue comic talk
on October 3, with a story about Monk Jigong.
When talking of Monk Jigong preparing to cure a disease
of the Song Dynasty’ Emperor and Prince,
Guo suddenly detoured, “At this moment, a eunuch
pointed at Jigong saying: ‘You have moral problems!’
Jigong turned back saying, ‘Which eunuch said this!’”
The audience uttered a sigh, realizing the implications.
Ye Kuangzheng, a poet and cultural critic, agrees with Guo.
He said that as a form of comedy, crosstalks should criticize
the sentiment of power in society. Only developing
in this direction can crosstalks be liked by civilians.
Ye Kuangzheng: “Many comedy forms, including crosstalks,
originally criticized and satire those in power.
It can be said that this is a very important art form in China,
especially while being a strong totalitarian nation.
That is to say, why are the masses fond of comedy?
Because there is a lot of inner criticism in the crosstalks.”
Ye Kuangzheng comments that crosstalks in China fell into
decline. The main reason is that the authorities of the CCP
(Chinese Communist Party) promote crosstalk comedians
praising CCP , but suppress those critical to CCP.
Wu Zuolai points out that it is a crime and a duty dereliction
for an artist to not be genuine in his art work for the society.
NTD reporters Qin Xue, Tang Rui and Xue Li
