Recently, I like to re-appreciate the works of cross talk masters at night, and frankly speaking, Hou Baolin's cross talk is very suitable for listening to before going to bed except for the singing part (not that it is bad, but it is too familiar, and the voice is not too noisy).
However, if you want to hypnosis, what I can't stand the most is not the cross talk like Master Hou's "Changing Careers" and "Empty City Strategy", but Guo Rongqi's "Theory of Playing Cards".
The more I listen to that kind of grinding and chirping, the more energetic I become, and in some places I have listened to it 800 times, but I can still enjoy it, this midnight ......
Classic cross talk often stands up to repeated listening, and this time I found Mr. Zhang Zhenqi's praise to be very good. There are three versions of the joke "On Playing Cards", which are performed by Zhu Xiangchen, Zhang Zhenqi and Ma Zhicun.
Personally, I prefer Zhang Zhenqi's way of acting, he has very few words in the paragraphs, and if you don't listen carefully, you will even mistakenly think that Guo Rongqi is talking about stand-up comedy. Similar jokes such as "Dispute" are also like this, and the tease is basically a one-man show.
This kind of cross talk belongs to a typical "one-headed heavy cross talk". If according to some people's views on the level of praise now, Zhang Zhenqi can almost be called a level of praise at all, because he has few words, and can only say "uh-huh", "ahhh ”
Hi! Wait, some people will even criticize him for the same way as making a small movie. But I take the opposite view, and I think this is the high level of performance of Mr. Zhang Zhenqi.
Here's why:
1.The words of praise should be refined, and the words used should be less and never more. Zhao Peiru, a leader in the praise industry, once said that refining is one of the basic skills of praise, and you can use one word and never use two words.
2.There are many words and few words, which need to be determined according to the completeness and smoothness of the cross talk works. For example, "On Playing Cards" is a classic, Guo Rongqi's play is flawless, and the whole work is completed in one go.
Similarly, Ma Zhiming's performance in "Dispute" is also excellent, and his cooperation makes Xie Tianshun's words very few, and the work is smooth and unimpeded. However, in "The Sound of Mahjong at Night", Yu Shiyou said a lot, but it "added chaos" to Shaoma.
3.In the heavy cross talk, the positioning of the teasing is more like the audience standing on the stage, his task is to catch the teasing in the necessary places, if there are too many teasing words, it will become a scene-stealing.
However, the biggest difference between Praise and the audience is that Praise has mastered the lines of the entire cross talk in advance, and he knows the nodes of each interjection, so the whole cross talk not only conforms to the rhythm of the audience, but also fits the way of teasing, and the work is extremely smooth and complete.
There are endless adaptations of "Theory of Playing Cards", among which Guo Degang and Yu Qian's version was staged in 2005, which is amazing. Of course, the performances of these two cross talk actors are also very good, especially Yu Qian's praise, which makes people feel the demeanor of Zhao Shizhong.
However, the author still insists that Yu Qian's words are a bit too much, and some sentences can be completely simplified. Therefore, if you listen to Guo Degang and Yu Qian's version first, and then listen to Guo Rongqi and Zhang Zhenqi's version, you will find that Guo Degang and Yu Qian's version is slightly insufficient.
However, this is not to say that Guo Degang and Yu Qian's version is bad, because they are just adapted versions, not their bottom of the box. Guo Rongqi and Zhang Zhenqi's version has been polished over the years and is more perfect.
Therefore, the key to the quality of cross talk lies in the smoothness and completeness of the paragraph, rather than whether the praise is too much or whether it is eye-catching. On the contrary, those who like to smash and sprinkle dog blood in a deep cross talk are by no means good praise.
When it comes to the humorous form of cross talk performance, the cross talk of children and mothers is an existence that cannot be ignored. Although this form is very popular nowadays, and many audiences and cross talk groups like the interaction and fight between teasing and teasing, we can't simply equate the fight between the son and the mother and the teasing.
In fact, neither the child and the mother are fixed forms, and a work can be said in the method of one head sinking, or it can be adapted into a son and mother to say.
Similarly, the cross talk of the son and mother can also be adapted into a heavy cross talk. The choice of which form to use depends mainly on the content of the cross talk and the characteristics of the performers. For example, if you ask Niu Qun and Feng Gong to perform "Dispute", they will most likely adapt it into the form of "Dispute", portraying Ding Wenyuan and Wang Decheng as two characters who are constantly fighting, making "Dispute" a cross talk performance.
Feng Gong of the herd, the leader of cross talk. They have a unique style and rich content, and they are by far the most successful and classic representatives of the cross talk. Feng Gong's dual talents of praise and comic have brought a higher level of art to the pair.
Their cross talk not only has elements such as arguments, pole raising, and role-playing, but also scenes of mutual praise, cooperation, and flowers, each showing a branch, and the style and content are highly matched, forming an effect of 1+1 greater than 2.
However, nowadays, some cross talk groups deviate from the son-mother, some are not suitable for the child-mother route but are forcibly compromised with the child-mother, and some crosstalk works themselves are not suitable for the form of the child-mother but are forcibly adapted into the child-mother.
Therefore, we must learn from the successful experience of Feng Gong of the herd and maintain the original flavor of the son and mother, so as to truly enjoy the joy and wisdom brought by the cross talk.
Why is it difficult to find classic cross talk jokes now? One of the important reasons is that many cross talk actors are too impetuous in their performances, they only see the excitement and go to the scene, and ignore the creation and performance according to the rules of cross talk.
As a result, after the excitement, the audience only remembered the lively scene at that time, and forgot the content of the cross talk joke itself. This situation has led to some cross talk jokes beginning to show a trend of transformation between the two, pursuing too much excitement and ignoring the structure and logic of the work, resulting in the work becoming empty and homogeneous.
This is an issue that we must pay attention to. Recalling the essence of the older generation of cross talk artists, their creation is through hard polishing and poverty endurance, and now, who can resist loneliness and **, adhere to this creative spirit?