It is said that cross talk pays attention to "talking, learning and singing", and the decline of cross talk is precisely related to these four lessons. So is "talking, learning and singing" really the foundation of cross talk?
"Talking and singing" are the four basic lessons of cross talk, which is true, but it does not mean that these four lessons are equally important for the audience. In other words, no matter how many homework there are in cross talk, the audience only cares about the final presentation effect, and whether they can be amused is the core issue.
"Speaking" is the most basic skill of any language program, in which tongue twisters, penetrations, and counting treasures are all speaking. This is a deceptively simple but extremely profound science. Because the simpler the more complicated, everyone has a mouth, why should what you say attract people and make people pay to listen to it?
"Learning" includes imitating local dialects, learning to sing various operas or songs, or selling them on the roadside, in short, imitation.
"Tease" is to be able to tease, to be able to speak a single stand-up, to be able to speak a double reed, etc.
Sing" refers to singing Taiping lyrics.
One of the most boring is "singing", because it is generally believed that singing Peking Opera and singing songs belong to "learning", and singing is only to sing Taiping lyrics. But the Taiping lyrics are really not good, and the lyrics are also boring, this is an art form created by cross talk actors. It is generally used to perform at the beginning of cross talk, although the Taiping lyrics have also gone through several eras, and the so-called catchy Taiping lyrics minor, but if it is really good, the Taiping lyrics will not be unpopular.
Therefore, I highly suspect that the "singing" in "Talking and Singing" is just a number, and any art form must have a so-called concept, and the "singing" in this is invented for the sake of rhyme, just like the "hydrogen" in "zinc, iron, tin, lead, and hydrogen" in the periodic table of metals, it is not a metal element at all, but in order to rhyme smoothly, "hydrogen" is put in it and enclosed in parentheses.
But we highly respect the theory of "talking and singing" left by our ancestors, but no audience is rushing to listen to cross talk with Taiping lyrics, if you listen to Taiping lyrics for more than 5 minutes, it is strange if the audience does not leave. Even Guo Degang, who is very popular, relies on face in his theater to make the audience patient and occasionally listen to one or two Taiping lyrics, all up to the audience to give face.
Because "singing" refers to singing Taiping lyrics, so "learning" has been carried out a lot of rich content, for the audience, whether it is opera or song, it belongs to singing, but for cross talk actors, these are all learning.
Because operas and songs are sung by professionals, cross talk actors can only be regarded as "learning" at best, which also expresses the humble nature of this art. But there is also a big problem with "learning", opera learning and singing accounts for the main part of learning, and few audiences come to listen to the opera, one is that the opera skills of cross talk actors are uneven, even the operas sung by professional opera personnel are also niche attributes, and most people don't like to listen to operas.
Master Hou Baolin is a semi-professional Peking Opera actor, and the level of Peking Opera among cross talk actors is already the ceiling level, and even when Master Hou was learning to sing Peking Opera, the audience's response was mediocre, and even so, it was due to the lack of entertainment projects at that time, and occasionally listening to a few words of opera was considered a pastime, and Master Hou often carried out artistic processing in the process of singing, in order to amuse the audience.
In other words, Master Hou Baolin, who has performed "learning" to the peak, can only be limited for the audience to appreciate his learning to sing, and for most of the time and most actors, learning to sing opera itself is a very boring thing. One of the best people who can learn to sing is Hou Baolin, and the other is his apprentice Shi Shengjie. Shi Shengjie often relied on performing operas to amuse the audience. But it's only that the audience occasionally listens to the song and feels fresh, and most of them still rely on "talking" and "teasing".
Guo Degang's opera level is already considered to be the top level in the cross talk world, and when he learns to sing, the audience will also feel bored, because opera itself is unattractive to most people. Especially young people, they are not interested in opera, and Guo Degang's fan group is just young people. His ** is Hou Yaowen, Hou Yaowen's ** is Hou Baolin, the three generations of grandparents and grandchildren have very strong opera skills, but what really sells is funny jokes.
For the audience, we don't care whether you sing well in the opera or whether you speak well or not, but whether we can be laughed at. Therefore, a thousand ways and ten thousand, funny is the core value of cross talk. Cross talk does not have the attribute of educating people, it can only make people laugh, otherwise it is worthless. Even if there are audiences who really like opera, why don't they listen to professional opera actors sing it, why do they want to find cross talk to imitate it? So whether it's opera or pop songs, the audience is not interested, unless it's an interesting adaptation.
The interesting adaptation still belongs to the category of "funny", but it has an intersection with "learning". When anyone evaluates the quality of a cross talk actor, the first criterion is whether they are funny or not. So anyone who can be called a master of cross talk, but if it's not funny, no one will watch it. Therefore, from the level of "funny", Ma Sanli may be greater than Hou Baolin, while Liu Baorui is both talking and funny, can tell a large story, and does not lack baggage, which is what the audience loves.
It is precisely because of this that Guo Degang was born, and what we remember is his super funny jokes, but we will not remember his so-called Taiping lyrics and opera singing. Of course, there are a lot of vulgar and-pee things in Guo Degang's jokes, which are beyond the scope of today's discussion.
It is precisely because of this that talk shows have become extremely popular in recent years, in fact, even the worst cross talk actor talks about talk shows, and his mouth is better than those so-called professional talk show actors. But the essence is not in the depth of the foundation, but in whether the content is funny or not. Talk shows are not confined to the form, nor do they pay attention to the beginning and the end, as long as it can make the audience laugh, it is a good joke, just like Jet Li said in "Jingwu Heroes": "What wins you is a good fist." ”
Therefore, it is not so much that "talking and singing" is the four basic skills of cross talk, but it is better to say that it seriously imprisons the growth of cross talk, but the cross talk that has lost "talking and singing" is nondescript, and it has become a talk show, or even a joke skewer, and cross talk without a foundation is like a grass that has lost its soil, and it has fallen into a dilemma. So where should cross talk go? Shouldn't it be like Guo Degang said: "Let's be funny first, if it's not funny, it's really funny!" ”