"Making a comedy show is so difficult that sometimes I have to whimper and… cry," comedian Xuan Bac confessed.

Artist Xuan Bac in the 2015 Tet Comedy Show (Tao Quan).

With over 20 years in the profession, taking on various roles: MC, comedian, stage actor, judge… artist Xuan Bac's unmistakable sense of humor always pleases audiences of all ages. Behind his playful manner of speaking lies a serious and meticulous nature: "Asking about doing comedy shows? That's right up my alley."

Getting people to laugh isn't easy.

How difficult do you find it to make a comedy show?

- Making comedy shows is so difficult that sometimes I feel like crying. There are so many problems; people are misjudging the difference between comedy and clowning, between easy laughter and profound, meaningful laughter. Saying someone is great at comedy is completely different from saying they're a very funny clown! Getting people to laugh isn't easy.

Personally, I find my creativity, social awareness, and ability to broaden my horizons are weakening, while life is constantly changing, audience demands are increasing, and therefore the pressure on comedians like me is also growing.

So, in your opinion, what should be the essence of a genuine smile born from humor?

- First, the facial muscles must relax, the eyes must sparkle, the mouth must open wide, and a sound must be produced—this is called mechanical laughter. That is, joy must relax and comfort people, reduce stress, and only then can it lead to purification and a pursuit of goodness and beauty. Therefore, for a comedian to create a true work of art—I emphasize—it must still meet three criteria: Truth, Goodness, and Beauty.

In recent years, comedies, comedy sketches, comedy reality shows, comedy game shows, situational comedy, and improvisational comedy have appeared frequently on television. There are countless ways to convey laughter on the small screen, aren't there?

- Those are all new concepts, no one has defined them yet. Maybe people call them that based on the programs they work on; personally, I haven't learned about those concepts. But I know where the humor lies and how to tell it.

Ultimately, comedy shows always aim for laughter; however, grasping the subject matter and translating it into a script through a humorous lens is not easy, and not everyone has the ability. What lessons have you learned from your experience as a comedian, in a scriptwriting team, or as an MC?

- In our "comedy profession," we often talk about "comedy moves," which ones are good, which ones are effective. These "comedy moves" encompass many different acts, and it's not always easy to find them. Art itself is about creativity, but there are only a few techniques to use, so the challenge lies in finding the "comedy move" and knowing how to apply it.

If a script is complete, with a story and situations, adding comedic elements is easier. The hardest part is when conflicts and tensions are inaccurate or misplaced, and the emotional climax is off; then the artist can only "swim" on stage, swimming as far as they can. And in that moment, we just want the time to run out quickly.

Artist Xuan Bac is the host of "Thank God! You're Here!"

So, how would you rate current comedy programs on television, both those that are purely Vietnamese and those adapted from foreign shows?

- Television programs themselves are journalistic works. Of course, there are films, stage plays, and short plays, but television approaches life through the language of journalism more than as a work of art. Because to appreciate a work of art, you must immerse yourself in the artistic illusion, appreciating it within its framework.

For example, if you want to see a play, you have to go to the theater; if you want to see a movie, you have to go to the cinema for the complete experience. Comedy on television is great, interesting, and people love it. Specifically, "Thank God! You're Here!". I'm not praising it just because I did it, but it's one of the programs that achieved high viewership ratings without any scandals.

But clearly there are still many mixed reactions to the show, even quite a few harsh criticisms?

Of course, there are flaws in the improvisational performance, editing, and even in the viewers' perception. Those involved in the production might be under time pressure or financial constraints; scriptwriters, producers, and sponsors sometimes overlook these flaws, thinking, "Out of 100 television channels, this is only 3 seconds, who would notice?"

But that doesn't mean the audience won't miss it, even for half a second. Therefore, the creative subjects, that is, us - the actors, crew members, directors... - must learn from experience. Besides that, there are the viewers; many of them comment wildly, feeling great for criticizing endlessly, but they themselves have never produced any works of art.

Are the "foreign" elements of foreign comedy show formats appropriate when adapted and broadcast in Vietnam, and how do they affect the quality of the programs?

- Those are two completely different things. The original version is the framework of the house; how that house is decorated is the content. The form creates a certain approach to the audience, but the main content is still determined by the program producers. If someone has good vision and knows how to combine form and interior design, their chances of winning are much higher. Some people fail to recognize the necessary harmonious integration between content and form, and buying foreign formats leads to more failures.

Having traveled both North and South Vietnam, have you noticed any differences in how humor is created between the two regions?

- Regarding regional discrimination, I won't offer any specific comments. The reason is that art, wherever it is created, must meet certain requirements. I can only say that laughter is needed in the North and South, Europe and Asia, Africa and America, and it helps people find joy in life. Artists who create laughter and want to be loved by the audience cannot be superficial; they must strive their best.

Of course, cultural characteristics vary from region to region, but never say whose culture is better than another's. It's a feeling, ingrained in our blood and lives; you can never compare them. I'm very allergic to comparisons. We make programs without distinction between North and South; we cherish each other and work together very well.

Please point out the errors so we can fix them.

He's a seasoned artist with a solid position in the comedy world, yet he still gets "caught making mistakes" all the time. Do these "accidents" happen frequently?

- It wasn't an accident. The audience is right to point out mistakes; please tell us so we can correct them. I have made many mistakes, I admit. I will continue to create good works and continue to make mistakes. The essence of artistic creation is non-repetition; when creativity ceases, there is no more art, and you are just a bricklayer.

There are mistakes I see myself right on stage or when watching the show again. I always appreciate genuine feedback, but I'm extremely allergic to people who act superior, judgmental, or critical.

Xuan Bac has left his mark on many programs. So, are there any programs he would like to return to work on again?

- It's called "Ask and Answer," and I'm planning to produce it this year. The content itself is excellent, and the questions, answers, and editing are very interesting. What makes me happiest is that the program has achieved a social impact. Hidden behind those seemingly innocuous stories are the lives, thoughts, and concerns of the artists and the entire team.

Artist Xuan Bac plays the role of Dr. Tran Xoay in the program "Ask and Answer".

Do you think that your return will put more pressure on you?

- The biggest pressure comes from myself. I only feel sad when I haven't tried hard enough and avoided making that happen. I always refuse any program if I feel I don't have enough time or energy to do it. It's also worth mentioning that I've never refused a program because of low pay.

He seems to be a "loyal" person because I've never seen Xuan Bac leave halfway through?

- That's right, I challenge you to find a program I participated in and then left. "Meeting at the Weekend" or "Twisted Questions, Straight Answers" were all discontinued programs. I considered it carefully because I wanted to do my best once I joined, striving to create something new and unique that was distinctly my own.

So, in which programs will audiences be able to see him in 2015?

It is planned that in June of this year, there will be a dedicated performance stage, held regularly every Sunday, for children. I want children to love theater more, and to watch more plays by Xuan Bac and Tu Long. Many plans are underway, such as: performing in commemorations of the 40th anniversary of the liberation of Southern Vietnam, Children's Day on June 1st, the National Theater Festival, the Theater Festival featuring the image of the People's Police, programs by the Hanoi Drama Theater, the Do Re Mi program by the Entertainment Programs Production Department, Cau Vong by the Youth and Children's Department, possibly reuniting with the audience in Hoi Xoay, Dap Xoay, continuing the Duoi Hinh Bat Chu program, and from August to October, doing On Gioi! Cau Day Roi!...

With all that work already consuming his time, is there any room left for Xuan Bac's roles in television dramas?

- Even when I'm not making films, I miss it. It's been a long time since I've had a really good role. I'm still waiting for an opportunity to quit other things, give up income, quit TV shows to live with the character, but it has to be worth the effort and time I put in (according to my personal criteria, of course).

Artist Xuan Bac starred alongside actress Vi Cam in the film "Two Sides of the Horizon". This is Xuan Bac's most recent role in a television drama.

"Tao Quan" (the annual Lunar New Year comedy show) and the emotions it evokes always generate great anticipation and expectations from the public and viewers. As an artist who has participated in many "Tao Quan" seasons, what are your feelings about it?

- One of the key factors that really excites us is that Táo Quân airs during Tet (Vietnamese Lunar New Year). I see it as a source of pride, a true gift to send to those who love us and the program. That's very important.

What could be more joyful than bringing meaningful laughter to the New Year's Eve feast? It's incredibly joyful, incredibly proud, and also incredibly stressful. The "Tao Quan" (Kitchen Gods) show is the creative work of the entire team. To put it most accurately, I feel proud of my contribution to that collective creation, of producing such a product.

But while his fellow actors get to change roles in the Kitchen Gods' show constantly, he remains stuck playing only Nam Tao. If he could change his role in "Kitchen Gods," which role would he choose?

- Xuan Bac's biggest dream is still to be part of the Táo Quân (Kitchen Gods) team because he's become so attached to it, he can't leave it. If there were a role with fewer lines on stage, I'd only want to be... Thiên Lôi (Thunder God), appearing and disappearing, wielding an axe and a hammer. That's just a joke, though; in Táo Quân, all the roles are equally important. It's an entire Táo Quân brand, each segment and scene shines brightly but cannot be considered separate.

Thank you!

According to Vtv.vn