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The many controversies in the cross talk industry on the Internet are partly due to the generation gap between netizens and the poor transmission of information.
Experienced cross talk enthusiasts usually spend more than ten to twenty years enjoying cross talk, and they can all treasure the veterans, core figures and emerging stars in the cross talk industry, and they can also fluently tell all kinds of cross talk jokes, basic knowledge and interesting anecdotes.
For those netizens with relatively little experience, their history of listening to cross talk may only be more than a dozen or a few years. For example, many fans of Deyun Club like to make high-profile claims that they only listen to Deyun Club, and their understanding of cross talk is mainly **Deyun Club and Gangsizi**.
Therefore, there is a generation gap and the problem of opaque information, one of the obvious examples is that Gangsi often makes mistakes in some basic knowledge of cross talk, if these mistakes are reflected in Gangsi's self-**, it is undoubtedly spreading false news.
Deyun Club has a special special session at the Gangsi Festival in the year of Guimao, called "The Year of Leaving the Land". Due to the uniqueness of this performance, the official Weibo of Deyun Club not only released the program list, but also specially showed the seating layout of the scene.
Judging from the program list, most of them are more traditional cross talks, and the main content is traditional old work.
Judging from the seating map on the scene, they tried to imitate it to make it look like a traditional ground-throwing venue, which is also the origin of the "Land-Dumping Year" cross talk special.
When Lao Gangsi and crosstalk lovers see this, they usually make an "oh" sound, indicating that it is good, but they are not surprised, because it is not a novelty, and most of it is left over after other people have finished playing.
However, when I saw this situation, I left this comment for a person in the Tianjin cross talk industry: Wait a while, and soon someone will comment that this is a grand action of Deyun Club, and this is the first time that someone in the cross talk industry has done this.
originally thought that Gang Si Zi ** would vigorously promote it after the performance, but when the program list was just released, there was a Gang Si Zi ** who claimed to be able to enjoy the fruit backstage in Deyun Club, and Guo Degang maintained close contact.
Gangsi first mentioned that the most eye-catching thing is the special show, which truly shows the appearance of cross talk 150 years ago to the audience.
This sentence is obviously problematic and not rigorous enough. 150 years ago, it was the early seventies of the nineteenth century, when not only Zhang Shouchen and Ma Sanli were not born, but even Jiao Dehai and Ma Delu were not born.
The cross talk performance was originally performed on a painted pot, that is, the artist randomly drew a circle on the ground, and then stood there himself to paste in a circle to attract customers. When the audience walks over, they will say a few cross talks to amuse the audience, thus earning some tipping fees.
When the land was laid down, it was more luxurious and there had to be benches for the audience to sit on, with special stage tables for the actors. In better conditions, curtains and tarpaulins will also be drawn, which is very similar to the grass platform team on the previous rural fair.
When the artists finished their performances, they would either pick up the baskets and go to the audience to ask for the cost of the pestle. Usually, you will need to pay for the pestle every once in a while. But in extreme cases, Hou Baolin's cross talk "Three Sticks and Drums" is a performance one after another, which successfully scared away the aunts present.
The difference between a floor and a pot is not only reflected in the tables, chairs and curtains, but also in the land that is left on the ground and there is a fee for the land, while the pot is not. Therefore, abandoning the land is actually equivalent to opening a store, which is not something that a simple cross talk artist can easily operate. Tianqiao's most famous crosstalk venue is run by Jiao Dehai and Liu Dezhi, which can be traced back a hundred years.
There is also a cross talk business model, that is, the land is free to pay money, this model has existed before the liberation, but as cross talk has entered the era of tea houses, most cross talk tea houses are still free money, although there is not much difference with the land, but the site conditions have become better, and of course the cost has become higher.
After the liberation, with the addition of many cross talk artists to the troupe, the traditional way of abandoning the ground gradually disappeared, and this model has existed for more than 70 years. At that time, most of the cross talk actors performed on the streets and alleys, but now they are mostly live broadcasts, and the live broadcast content generally has a certain depth, but the audience often has little interest in these programs, and even many people find it boring. Therefore, this realistic reproduction of "cross talk 150 years ago" obviously lacks rigor. If you really want to restore it, it's best to go to the street performance and ask for a tip. If you really can't do it, you can also try to open a cross talk live broadcast like Yunxuan, perform for free or accept rewards, which is similar in nature to the era of painting pots.
What's even more worrying is that Gangsi's self-report said that the "Deyun Club Dumping Special" is unprecedented in the cross talk industry. This is already considered a rumor, and the author will clarify it anyway.
What made such a big impression on me?I wrote an article titled "The Last Light and Shadow Left by Traditional Cross Talk to the World, Remembering Tianjin's "Original" Cross Talk Performance", which was officially released on December 26, 2018.
This article reviews a 2011 "raw" performance at Qianxiang Yiwenyuan in Tianjin, featuring a cast (in order of age) that includes Zhang Yongxi, Yu Youfu, Tian Lihe, Liu Wenbu, Huang Tieliang, Zhang Wenxia, Wei Wenhua, Yin Xiaosheng, Li Boxiang, Wang Wen, and Wei Wenliang.
In the 2011 performance, the youngest was Wei Wenliang who was 71 years old, and the eldest Zhang Yongxi was almost 90 years old. From the perspective of family generations, they have gathered together from the Shouzi generation, the Baozi generation to the literary generation. Since then, it has been difficult for so many seniors in the cross talk industry to participate in performances publicly.
For this original performance, Qian Xiangyi specially made a bench and made a small bamboo basket for it. Qian Xiangyi's team put on the gowns of that era, and they all became clerks, making money and selling under the stage, and they were ** snacks like radishes.
In order to create a natural atmosphere, Yin Xiaosheng specially trained the staff and shared the movement skills of the young employees in the cross talk tea club. Mr. Yin knew this very well, he had both work experience in the tea house and knew that his father, Yin Shoushan, had been an important figure in the tea house.
Before the performance was about to start, Mr. Wang Wen first demonstrated the technique "Baisha Sazi", which was a method used in round sticky performances at that time. Nowadays, however, more and more people are mastering this skill, and relatively few are able to perform.
The senior cross talk performers first brought everyone the chorus of "Four Joys" by Kai Kai Liu'er, followed by the group comedy "Mr. Cai Lai", which are all classic performances when they gave up work.
The following performances are all classic cross talks, such as "Playing Japan", "Shandong Dialect", "Tongue Twister", "Learning the Big Drum" and "Dialect Error". Wei Wenhua and Wei Wenliang, the two siblings, used "your brother-in-law" as the object of smashing, which caused the audience to laugh, which is equivalent to Liu Wenheng also participating in it.
Ma Sanli's younger brother Ma Sili's wife Yu Youfu collaborated with the eldest Zhang Yongxi, which was the last performance in Yu Laogu's life, but unfortunately Wanhua did not appear.
In the program of the big axis, the role of the big double reed is played by Liu Wenbu as the front face, while several other artists are the back body, and the whole show is divided into seven parts, of which the first person of the double reed has won the honor.
In the "Song of Persuasion" sung by the senior seniors, the whole performance has ended perfectly.
The main reason why I use the expression "the last touch of light and shadow" in the title of the article is because these senior seniors have real work experience in the past society, and they are not only performing traditional cross talk, but also direct witnesses and witnesses of that era.
As these veteran seniors fade out of the stage, other performers seem to be imitating them, so this original performance of Qian Xiangyi is of great historical and artistic value.
Obviously, Qian Xiangyi did not give up the concept of "original ecology" later, they not only created the original ecological cross talk experience hall of Qian Xiangyi, but also allowed young actors to reproduce the original ecological cross talk performances many times.
Gang Si's self-** was so emotional that his words were confused when he saw Deyun Club imitating Qian Xiangyi's "Ground-Throwing Special", which is understandable, but we can't just make up rumors, after all, Qian Xiangyi is always looking for trouble.
Therefore, you should understand that this is also the core reason why there are often controversies in the field of cross talk. Some people not only don't know anything about cross talk, but they don't learn Xi seriously. On the surface, they seem to be promoting Deyun Society, but in fact, due to their lack of ability, some overly exaggerated claims are actually making excuses for Deyun Society.
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