Why is there no crosstalk from the 1960s and 1970s?

This is a really good question. During this tortuous historical period, cross talk and other traditional folk art forms experienced several ups and downs, overcame many disasters, and finally regained their artistic vitality.

However, the term 1960s and 1970s is a bit general. Specifically, it can be roughly divided into the early 1960s, the late 1960s, the early 1970s, and the late 1970s.

In the early 1960s, traditional folk art programs such as cross talk made great progress.

At this stage, new cross talk works continued to appear, and many new cross talk actors emerged. Teacher Ma Ji was one of the representative ones. The cross talk he wrote and performed became a popular work at that time.

Among them, the praise of cross talk is unique. On the one hand, it shows the great development of the construction of New China, and on the other hand, it also praises the new people, new things and heroes of the new society.

Representative works of the former include: "Looking for Uncle", "Plateau Rainbow", "Labor Chant", etc., and the latter include: "Female Captain", "Portrait", "In Praise of Mountaineering Heroes", "Hero Xiaobalu", etc.

In addition, Ma Ji also has many new satirical works, such as "Telephone Call", "Amazing Punchline", "Who to Marry Me", etc.

Other people's works also have their own characteristics. Some traditional programs have been sorted out and continuously refined, and coupled with the unremitting efforts of new and old artists, the artistry has been greatly improved.

Many of the works we hear now by Hou Baolin, Liu Baorui, Guo Qiru, Guo Quanbao, and Ma Sanli (who came back in 1962 and collaborated with Zhao Peiru) were all recorded in the 1960s.

At that time, the stage art of cross talk was booming, and many amateur actors joined the professional team one after another, including a large number of famous artists such as Li Wenhua, Hao Aimin, and Tang Jiezhong who we are very familiar with today, all of whom performed their own works at that time.

In the late 1960s, due to various reasons, the development of cross talk had to stagnate. Many actors were even denounced as "cow ghosts and snake gods" and were criticized. A large number of actors and creative staff changed careers.

As a result, no works were performed and no new works appeared.

In the early 1970s, the atmosphere had eased, and some old actors began to return to their original units to engage in so-called "new creations."

Speaking of this period of history, we have to pay tribute to the actors and literary and artistic creators of that time.

They carry out literary and artistic creation under very difficult circumstances. Some of them have not even taken off their "hats" and are in danger of making "mistakes" again at any time.

Yang Zhenhua has a cross talk called "Director Kan", which is a true portrayal of the literary and artistic creation environment at that time.

The good news is that there are still some good works, some even considered classics.

"Ode to Friendship" written by Ma Ji and Tang Jie Zhong is an example. In addition, "Digging for Treasures" (also known as "Pigs Are Full of Treasures") created and performed by Chang Baoting and Wang Peiyuan is also very good and became a hit that year.

In 1974, Hou Baolin and Guo Quanbao recorded a series of traditional programs on CCTV, which are still very precious today.

However, after 1975, the atmosphere suddenly changed, and some of the restored literary and artistic forms faced new criticism.

In the late 1970s, with social changes, a large number of new cross talk works emerged.

Some of them mainly focus on criticizing the bad phenomena in the past ten years, and many works directly target the "Gang of Four".

Representative works include "Hat Factory" by Chang Guitian and Chang Baohua, "Special Life" by Wang Zhitao and Yang Zhenhua, "Photographed Like This" by Jiang Kun and Li Wenhua, "The Appearance of the Bone Demon" and "Stage Thunder" by Ma Ji and Tang Jiezhong, etc.

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At the same time, some works reflecting new life, new atmosphere, and new issues also appeared on the stage, such as "Poetry and Love" by Jiang Kun and Li Wenhua, "Research on Dynamics" by Chang Guitian and Chang Baohua, and "Irregularity" by Gao Yingpei and Fan Zhenyu

"The Wind", "Family Planning Is Good" by Yang Zhenhua and Jin Bingchang, etc.

Since then, crosstalk has once again become the most popular art form among the people, and has therefore entered its most glorious period of development.

There is a documentary documentary, "Laughter", recorded in 1979.

It has collected many popular cross talk works from the late 1970s and can be searched on Baidu Video.

Netizens are welcome to add and correct.