Why is traditional crosstalk an artist?

Crosstalk has a history of 150 years, starting from the earliest performing arts stage, then entering the teahouse, entering the theater, radio and television after the founding of the People's Republic of China, and now returning to the theater. In the meantime, crosstalk has become hot since childhood, and it has also experienced the edge of life and death, and now it is relatively prosperous. In the history of more than one hundred years, many crosstalk performers have played a vital role in the development of crosstalk. Let's talk to five of them.

First place: Zhu Shaowen.

Zhu Shaowen is not afraid of poverty. Now he is regarded as the first generation crosstalk performer. There are thousands of crosstalk performers with teacher-student relationship in China, which can be said to be descendants of Zhu Shaowen.

Zhu Shaowen was born in 1829, and sang the Peking Opera Hualien for the first time. After Xianfeng years, he switched to cross talk. Zhu Shaowen has a certain cultural accomplishment, not only can perform, but also has creative ability, and created the comic dialogue Bodyguard. His profound cultural heritage makes his performances popular and elegant, and his skills are higher than those of his contemporaries.

He pioneered the form of dialogue and group talk, introduced the poems and pad words at the earliest, and established the form of stand-up crosstalk. He was also the first person to accept cross talk, and created the rules of cross talk, as well as the methods of transmitting characters and singing Taiping lyrics in Baisha Beach.

Second place: Zhang Shouchen.

Zhang Shouchen, born in 1899, is a crosstalk performer of Shouzi generation. He has adapted and created traditional crosstalk such as Wotou Lun and Zhazhengbu, and is known as the king of crosstalk.

Zhang Shouchen is an outstanding representative with civilian consciousness in the mature stage of cross talk and a famous cross talk artist. Many stand-up comic dialogues have been arranged by him, and they are called classic works that are close to secular life, literary and powerful. Candlesticks and thieves are his works.

Zhang Shouchen is not only a master of crosstalk, but also a master of popular literature.

Third place: Hou.

Needless to say, the advantages of Hou. Before liberation, he insisted on civilized cross talk, which improved the literariness of cross talk and was very popular. After the founding of New China, crosstalk once entered a critical juncture, and it has been unpopular in many performance occasions. Hou and other human resources led the reform of crosstalk, and launched a number of crosstalk works that kept pace with the times, which enabled crosstalk to continue.

Hou not only has profound traditional knowledge, but also dares to innovate, creating and performing many new works. In addition, Hou has made many contributions to improving the status of crosstalk performers, and was once hired as a visiting professor by the Chinese Department of Peking University.

Fourth place: Ma Ji.

Ma Ji is the representative of connecting the past with the future. He first began to perform traditional crosstalk, and later he wrote and performed a large number of new crosstalk songs. From 1970s to 1980s, he performed many satirical new cross talks. It can be said that he led the trend of cross talk in every era and became the vane of cross talk development.

Ma Ji also trained a team called Ma Jiajun in the field of cross talk. Jiang Kun, Feng Gong, Liu Wei and others have all become a new generation of crosstalk stars.

Fifth place: Degang Guo.

Actually, I'm a little hesitant about the fifth candidate, Degang Guo or Jiang Kun. Come to think of it, let's list Degang Guo.

Nowadays, the prosperity of crosstalk theater is closely related to Degang Guo's reputation. If he hadn't insisted on inviting crosstalk audiences back to the small theater, I'm afraid the development of crosstalk would have been in by going up one flight of stairs. There is almost no cross talk on TV, and other channels are also lacking, so people will get farther and farther away from the original cross talk.

Of course, crosstalk in small theaters and large theaters has its own problems, but it is undeniable that these problems will only appear after crosstalk is taken seriously, which is much better than the situation that crosstalk is neglected in some years.

May the charm of cross talk last forever.

Crosstalk is a folk art, which belongs to the art of rap. Compared with many dying folk songs, cross talk is very lucky. Not only can it be seen and heard by so many people, but it can also be sold at a certain price by relying on the market, which is the result of the efforts of generations of crosstalk artists.

There is only one way to maintain the youthful vitality of cross talk, and that is to innovate on the basis of inheritance. Completely abandoning tradition is not cross talk, and completely relying on tradition is unattractive. I hope that cross talk can have the charm of communication and bring endless laughter to the audience.