If we compare Ma Ji, Jiang Kun and Degang Guo in the field of phonology, who has a higher level of creative performance?

As far as creative level is concerned: Ma Ji > Jiang Kun > > Degang Guo Ma Ji is the leader of the new cross talk, but he is not only good at the new cross talk, but also some cults "boast that cross talk has no basic skills".

Ma Ji's traditional basic skill of "learning to tease" is much stronger than that of a saint. He is fed by Hou, Shao Guo, and Qi Ru, and Sambo takes turns to serve him. He is basically a top teacher. Ma Ji's traditional skills are not lost to any living crosstalk performer, including the great god in Tianjin Wozi.

Thanks to profound traditional skills, Ma Ji has enough "enemies" when he creates new cross talk. Together with Mr. Ma Ji's generation of actors, they all have rich life experiences, going to the countryside, and changes in various waves at home and abroad. All the elements of the times are piled up in front of literary and art workers like a torrent, making them inexhaustible. Coupled with the depression and resentment in a special period, from the late 1970s to the 1980s, all domestic art fields were as excellent as blowout, creating a golden age of art. ..

Ma Ji and Jiang Kun were both participants in that era, and their cross talk also had distinct characteristics of the times. Therefore, it is wrong to call it "praising cross talk" in a derogatory way, but it should be accurately called "cross talk of the times"

Ma Ji's Hundred Strikes, The Best in Beijing, Multi-storey Hotel, Special Diseases, One Servant and Two Masters, After Getting Rich, etc. They are all excellent cross talks of the times, and the baggage inside is adapted from real life, closely related to the hot topics at that time, and their popularity is far better than that of popular cross talks at Sanguan. Even in the whole history of cross talk, it is a masterpiece that can be passed down from generation to generation.

As for the works of the same quality, Mr. Ma Ji has created more than 100 paragraphs, and his creative ability is first-class in terms of the history of cross talk.

Although Jiang Kun's creative ability is not as good as Ma Ji's, he is also the best crosstalk performer of his age. Now some people with ulterior motives greatly belittle the so-called mainstream crosstalk performers, and fans have no brains to follow suit and bite back, describing Jiang Kun as an incompetent person who can't live without Liang Zuo. In fact, Jiang Kun had many excellent works before Liang Zuo. "So Take a Picture" was a work that was popular all over the country. Jiang Kun and Li Wenhua went to a photo studio to talk with Master and came back to create a manuscript. However, because the scene is limited to the photo studio, the content is not sufficient, so they seek the opinions of their predecessors everywhere. It took half a year to revise the manuscript and finally put this satirical formalism crosstalk on the stage.

Jiang Kun's other works are created in this way, capturing the details of life, looking for the burden elements that can produce comedy, enriching the content to a higher level, and polishing it repeatedly before the performance. The cross talk written by Liang Zuo is not a word recited by Jiang Kun himself, but a product of two people's cooperation. Liang Zuo doesn't write cross talk jokes, but mainly provides writing style and brain holes. Escape from Danger is a story draft written by Liang Zuo and a cross talk text written by Jiang Kungai.

Although some of Jiang Kun's own cross talks are really of poor quality, most of them are quite brilliant, such as Looking Back at Nine Years Old, Poetry and Love, Time and Youth, Anxiety, Thinking, Corridor Song, It's Me Not Me, Fantasy, Self-Choice, After Resignation and Breastfeeding Poetry.

Degang Guo's creation is limited by his cultural level and poor life experience. Before he became popular, the biggest life experience in Degang Guo was the Hongqiao Cultural Center, and the life inside could not be adapted into a joke because he had a record of staying in the police station. The other is the failure of compilation, various contradictions with peers, and part of it is the gossip he heard from other old artists. These experiences were infinitely magnified by him and made into jokes. The two paragraphs "On the Status Quo of Crosstalk in Fifty Years" and "I Want to Oppose Three Vulgarities" are not so much crosstalk as Guo-style talk shows. Similarly, he scolded CCTV in a small theater, all of which were talk shows to vent personal anger. There were no stories, no roles, and all of them were various.

And he is sought after by fans. His creative source is Baidu Weibo Post Bar Tianya Maopu and other online communities. He pieced together online clips, designed a character (Degang Guo himself, or Yu Qian and his family), and then performed on the stage. Many burdens of your words and words are seriously divorced from life. The reason is that the creators have racked their brains to make them. Degang Guo has no ability to adapt them into things that conform to life, so he can only put them together and put them into battle. Anyway, he can't understand the loopholes.

Degang Guo's real strength is the dismantling and washing of traditional jokes, and what really caught fire in his early years were those dismantled traditional jokes, such as "Playing a Dream". The original "Phase I" was stuffed with some fashionable baggage, which did not destroy the structure of the old jokes, but the content was very fresh. Moreover, these old jokes were all the works of old artists, and Degang Guo's ridicule was also very strong, so the effect was particularly explosive.

Performance ability: Ma Ji > Degang Guo ≥ Jiang Kun Degang Guo's stage performance is really strong, which is why he is so hot. Degang Guo's weakness, however, is the characterization. From his films and TV plays, we can see that Degang Guo is better at portraying the script role as himself, or that this role is tailor-made for him, otherwise he will smash whatever he plays.

Ma Ji and Jiang Kun are both very good at shaping roles, and Ma Ji can handle most of them, but Jiang Kun almost means that he is only good at shaping literary youth, which is why the typhoon didn't collapse until he was old. In addition, Jiang Kun's traditional foundation is really bad, so it is slightly weaker than Degang Guo's in cross talk performance.