Quyi is an art form that is completed together with the audience, with emotional resonance and even intellectual competition. In the development process of Quyi, which highlights its strengths and avoids its weaknesses, it must not ignore the discovery and exploration of the audience's aesthetic psychology and interests. It should, on the premise of carefully studying and adapting to the audience, intelligently and beautifully influence and inspire the audience. Quyi art is certainly not the old "buying and selling", but in essence, it has a close connection with the audience, like fish and water, selling and buying. Exploring the relationship between folk art and the audience is a fundamental issue related to the survival of folk art. Influenced by the philosophical "three questions" of "who am I", "where do I come from", and "where am I going", I have had some thoughts on questions related to the essence, origin, and destination of Quyi, such as "why does the audience come", "how to interact with the audience", and "how to connect with the audience" - where does the audience come from? Quyi is a unique folk art in China, which has the local feelings and sounds of Chinese people. It seeks to be appreciated by both the refined and the popular, to be easy to understand, and to sincerely serve the people with the greatest common denominator. Quyi has been improved and promoted to the ranks of art after the founding of the People's Republic of China from the "variety show" that was abandoned before the founding of the People's Republic of China to the rebirth of nirvana, which is inseparable from the purpose of the CPC and the People's Government to serve the people, because it always pursues the love and joy of the people. However, if Quyi gradually fades away from the emotions of the common people in the process of improving its social status, it is easy for it to forget its roots. Serving the general public is the essential value orientation of Quyi. Its attitude, skills, wisdom, and realm, like other forms of Chinese art, highlight its own survival value and unique charm through the integration of emotion, reason, and interest. The typicalization of family strengths and weaknesses, the humanization of multi-directional emotions, the subtlety and complexity of relationships between people, and the profundity of social issues are all unique values of Quyi. Excellent Quyi text themes exist in the "human physics" that the public is most enthusiastic about and concerned about, and can personally experience or touch on tiptoe. The performance, works, and theory of Quyi must achieve an organic balance between ideological and entertaining aspects. Only by showcasing the charm of combining education with entertainment can the people consciously come and be reluctant to leave. As a folk art proverb goes, "Without language, without sound insulation, the most important thing is without heart." Due to the "deep love, urgent responsibility," I once warned folk artists, "If the people don't love, it's not surprising if they die." How should folk art treat its audience? Plain and straightforward, not a form of folk art. The techniques, wisdom, and realm that Quyi artists use to influence and impress audiences all require seeking unity and coordination between the principles of truth, goodness, and beauty and the skillful interpretation of these principles. There is an anecdote in the music industry that in the 1960s, when the renowned calligrapher Fu Taichen was in Jinan discussing his new book "Railway Guerrillas", he was questioned by the original author Liu Zhixia about adding a "flower arrangement" plot after the show ended. Fu Taichen answered calmly, not only can this move attract the attention of the listeners, but also make the plot more reasonable. Upon learning about the ample behind the scenes work of storytellers, Liu Zhixia bowed his hand and expressed his sincere admiration. The educational function of Quyi must be transformed into vivid and lively artistic images, presented or realized through ups and downs, subtle twists and turns, captivating and reasonable stories (expressions). At the same time as being happy and joyful, ordinary people can also gain or add knowledge and education of "being content with life", "understanding human nature", and "judging beauty and ugliness". This is an unexpected gain they have gained in the process of getting close to Quyi. Only when musicians have a deep understanding of the lives, aesthetics, and tastes of the common people and are intimately connected with them, can they do their homework of "reading beyond books" and satisfy their unexpected and reasonable spiritual enjoyment. Connecting with the audience refers to the act of musicians and ordinary people working hand in hand, enjoying and never abandoning each other. In Quyi, there is a professional term called "zhonggen", which originally refers to breaking down the characters, events, etc. that will appear in the Quyi (book), in order to respond to the subsequent development of the plot. The "seed" in it aims to grow together with the audience, because only with a "seed root" can there be "growth" and "harvest". It's better to live in the 'wind' than to go deep into life and seek inspiration. The fundamental reason why Hou Baolin appeared on Beijing Tianqiao in the past was that he himself was a Tianqiao person. He was born and grew up on Tianqiao, and his love was actually Tianqiao's love, which was a kind of "secret harmony". Hou Baolin said that the audience is his breadwinner, but in fact, their emotions are already sympathetic, without any compromise or compromise. Only by planting the roots of Quyi among the public can it receive a response from them. The martial arts of Quyi, including fastening and unfastening, are all due to the scientific and rational summary of Quyi's "unique humor" and "common people's emotions" by Quyi artists in their "connection" with the audience. This summary includes the "careful consideration" of the people. I once met a popular and award-winning Quyi artist. I asked him why he hasn't seen any great works in recent years, and he sighed: I used to go to the village to perform, and every day I thought about how to play new jokes to make people willing to invite me to perform again; After winning the award, I was transferred to a professional theater troupe and was tired by various agencies, so I had relatively less time to ponder... As the saying goes, 'A hundred practices are not as good as one ponder.' Nowadays, some popular quyi artists have no time to ponder for the common people and audiences. Alas, let alone forming a bond, even if it continues, it will be difficult. The people are the country, and the country is the people. Quyi is a culture that grows among the masses. Speaking of this, I just want to say that the common people are also the rulers of Quyi, and the rulers of Quyi are also the common people... (New Society)