When did China's crosstalk originate?

The word "cross talk" originated in ancient times, initially referring to imitating other people's words and deeds, and later developed into an image voice. Xiangyin, also known as the next-door xiangyin, was popular in the Ming Dynasty. Crosstalk originated from the folk rap art in northern China and prevailed in Ming Dynasty. After the development of the Qing Dynasty until the early years of the Republic of China, the image voice gradually developed from a person imitating ventriloquism to stand-up crosstalk, and the name also became crosstalk. One type of stand-up crosstalk has gradually developed into various types of stand-up, counterpart crosstalk and group crosstalk, becoming a veritable crosstalk. After years of development, cross talk has finally become the most popular form of cross talk for the audience. Crosstalk originated in Beijing and became popular all over the country. It is generally believed that it was formed during the reign of Xianfeng and Tongzhi in Qing Dynasty. It is a folk art form that makes the audience laugh by telling jokes or interesting questions and answers. It evolved from "Xiang Sheng" in the Song Dynasty. By the end of Qing Dynasty, crosstalk had formed modern characteristics and styles. Mainly in Beijing dialect, there are also "dialect crosstalk" in local dialects. In the process of cross talk, we have absorbed the artistic advantages of ventriloquism and storytelling extensively, combined Zhuang and harmony, expressed truth, goodness and beauty with satirical jokes, made people laugh as the artistic feature, and took "speaking, learning, teasing and singing" as the main artistic means. Zhang Sanlu, an early representative, was the earliest crosstalk artist with written records. According to relevant records, it is speculated that Zhang Sanlu was originally a Peking Opera octagonal drum clown, and later changed to crosstalk. His artistic career began in Daoguang period of Qing Dynasty. The children's book "Follow the Fate" says: "Learning cross talk is like reviving Zhang Sanlu, and the copper mule is like winning three games." But generally speaking, Zhu Shaowen (poor and not afraid) is called their granddaddy by the record makers. During the period of War of Resistance against Japanese Aggression, some crosstalk performers showed national integrity. Often arrested twice for satirizing the Japanese government. Zhang Shouchen publicly praised Ji Hongchang and others for their resistance to Japan, criticized the authorities' policy of non-resistance, and got into trouble by satirizing the "meanness" of Tianjin police at that time. After the development of Crosstalk 1949, a large number of actors, represented by Hou, who were talking about cross talk before the founding of the Party in China, gradually transformed the content of cross talk and removed a lot of jokes such as pornography and satire on other people's physical defects. Crosstalk quickly became popular and became a national and national quyi form. One of the reasons for the popularity of cross talk is that it is an art based on sound, which is suitable for popular wireless broadcasting as the main media. Crosstalk is called "the light cavalry on the literary front". In addition to the rearranged traditional crosstalk, there were many satirical crosstalk in the early days, satirizing people who were backward in thinking in the "old society" or the new era. However, due to the policy of the * * * production party, some people realized the necessity of praising socialist cross talk. During the period of general line 65438-0958, a number of cross talks that were eulogized began to appear in large numbers. Ma Ji and others were the representatives. However, in the subsequent Cultural Revolution, many crosstalk artists were suppressed, which once made crosstalk disappear in Chinese mainland, and only some crosstalk that was praised could still be performed during the Cultural Revolution. After the Cultural Revolution, crosstalk quickly became popular. A large number of comic dialogues satirizing the Gang of Four, represented by "So Taking Pictures" by  and "Hat Factory" by Chang and Chang Guitian, quickly became popular. In the past, crosstalk between Hou and others was replayed on the radio. 1980s, under the impact of the increasingly popular Quyi sketches, simple cross talk was no longer favored by the audience with TV as the main media. Some new forms of cross talk have been developed, such as performing cross talk and cross talk drama, but the market is still small (at the same time, a lot of cross talk elements have been absorbed into sketches). Nevertheless, crosstalk has made great progress in this period: a new generation of actors emerged, and new crosstalk jokes of various contents and forms were put on the stage, forming a "contemporary crosstalk" different from the previous ones. There are many well-known examples, whether praising entertainment or criticizing the shortcomings of the times. In all kinds of literary occasions in this period, crosstalk was still the protagonist of entertaining the public. From the middle and late 1990s, crosstalk began to decline, with fewer and fewer new jokes, less and less satirical content, and the old-fashioned pure entertainment style crosstalk began to occupy the absolute mainstream position. At the same time, crosstalk performers, including many well-known actors, left the crosstalk stage to take up other jobs, but few newcomers could take over. The status of cross talk is gradually replaced by prosperous sketches. From 265438 to the beginning of the 20th century, Chinese mainland's cross talk was in an irrelevant position: the older generation of artists fell one after another, and the popular actors in the1980s also showed their inability to develop cross talk; In the "National Crosstalk Competition" held to revive cross talk, the new generation has never flourished. (China CCTV held four national crosstalk contests on New Year's Day in 2002, New Year's Day in 2003, National Day in 2006 and May Day Golden Week in 2008. The first and second sessions were well received by the audience, but the third and fourth crosstalk contests were accused as "crosstalk contests without crosstalk". At the closing ceremony of the Third Crosstalk Competition, Ma Ji's cross talk with hosts Zhou Tao and Bi Fujian became Ma Ji's last public cross talk performance. The future of cross talk is not optimistic by most people, but outside the media, many cross talk troupes that perform in the traditional way still retain a certain level and have a considerable audience. In many small theaters and teahouses in Tianjin, you can hear quite wonderful traditional cross talk. Degang Guo, who also performed in a teahouse in a traditional way, suddenly became popular after 2005. Although he is different from the real teahouse crosstalk, he still brings some recognition to the tradition to the audience.