What is Jiang Kun's basic understanding of traditional crosstalk?

Dongdong Gun, a famous media person, was also the biggest V who played Degang Guo the most fiercely in his early years. He once evaluated Jiang Kun's traditional skills and personally agreed with his point of view:

The traditional life in Jiang Kun should not be systematically studied. When he studied under Ma Ji, his performance style was basically stereotyped, and later he didn't specialize in traditional life.

However, Jiang Kun's limited traditional works, such as "King Kong Pushes the Stone", "Disciple" and "On Wealth", are basically above the standard. In addition, Jiang Kun Eight Fan Screen, which is widely circulated on the Internet, is not as bad as it is said. On the premise of performing without rehearsal, it is difficult for Jiang Kun to say such a thing.

At least, we can see that Jiang Kun had studied traditional programs privately, but it was too late to accept them, so it was impossible to raise them to the level of Ma Ji. Knowing his own shortcomings, Jiang Kun tried not to touch these traditional programs. On the one hand, he fosters strengths and avoids weaknesses; On the other hand, he respects traditional activities.

However, traditional crosstalk is not something that crosstalk performers have to perform. We should respect the valuable skills in traditional cross talk, not the form of traditional cross talk.

Why do the fans of Deyun Society so confidently say that Jiang Kun is "unconventional"? Obviously, these fans don't know what "traditional cross talk" is, the bad programs they heard in Deyun's small theater, the traditional Liang Zi after undressing and defecating, and the popularity of network celebrities with poor basic skills. They can't even carry some basic traditional jobs. Fans of Deyun who listen to this rubbish all day can't criticize Jiang Kun for not understanding, can they?

There is a simple reason. Fans don't care about "traditional cross talk". When Degang Guo first defined the basic skills of cross talk, he also took what he knew as the standard. For example, he only sings Degang Guo's original "Taiping Lyrics" because he knows "Taiping Lyrics". And Gao Feng said that this included the number of treasures, and Hou even said that learning to sing was also included in singing.

As for those who don't understand Taiping's lyrics, it costs 25 yuan less. Since crosstalk entered the theater before liberation, it has been abandoned. Even Zhang Shouchen emphasized that "we don't need a round stick to perform in the theater, so Taiping lyrics don't need to be studied." Ma Lao even said, "Taiping lyrics are very vulgar, very vulgar, and now no one listens to this stuff at all ~"

However, in order to make himself unique, Degang Guo raised this worthless round stick infinitely as a standard to distinguish between tradition and non-tradition, so that fans can form a steel seal of "Degang Guo is tradition" and "like Degang Guo" as the only standard to judge the level of other crosstalk performers.

So when Guo Fen commented on Degang Guo, according to Degang Guo's own standards, it was a perfect score. The less other people are like Degang Guo, the lower their scores, and the less traditional his fans think of him.

Jiang Kun, an actor whose style is completely different from Guo Banzhu's, naturally got a negative evaluation. Plus, it has been labeled as "persecuting Degang Guo", and another ten thousand points will be deducted, which is directly beyond redemption.

This wishful judgment standard is actually an anti-intellectual baptism for the whole crosstalk industry after Degang Guo played the fan economy. In the eyes of the fans of Deyun Society, a good crosstalk performer is either like Degang Guo or in the arms of Deyun Society. If you don't have both, at least scold Jiang Kun, then you can get the praise of "tradition" and "basic skills".

In fact, when it comes to tradition, Degang Guo Taiping's lyrics are not traditional singing methods, while Tenshindon's Tong Shouben and Liu Wenbu are the highest level in the industry. Degang Guo is very casual in diction and embellishment. For example, the inexplicable singing style of "Death and Fragrance", coupled with his deep-rooted Pingju accent, his Taiping lyrics are totally unattractive and unconventional.

As far as permeability is concerned, Degang Guo and Jiang Kun are comparable. Degang Guo's penetration has always relied on "quickness" and "hard work", and there is no training in rhythm and ventilation at all, which makes his penetration sound very tired. In the words of fans, it is "heartache for me". Of course, fans will think that Degang Guo worked so hard that you almost suffocated after listening to a passage, so the ticket price is worth it. But according to the standard set by Zhang Shouchen, if you can't make the audience feel beautiful, but others are as tired as you, it's a complete failure, or your kung fu is not at home at all.

According to Shou Lao's evaluation criteria, Jiang Kun's Eight Fan Screen Wind is actually on a horizontal line with Degang Guo.

The young actors of Deyun Society, who are eight stops behind Degang Guo, are eating chestnuts and looking at cheat sheets on the stage. They are not traffic idols who laugh until they collapse. If these things are traditional, then Zhu Shaowen really wants to walk out of the grave with a kitchen knife.

To sum up, Jiang Kun's traditional foundation is very general, but he is self-aware and knows how to foster strengths and avoid weaknesses. Those people in the shrine flaunt tradition with the worst things, licking their faces and scolding others for not understanding tradition. This is the greatest destruction of tradition.