As a unique language art, cross talk is well-known to the audience for its unique way of speaking and singing. However, how many people really regard cross talk as an art and deeply understand its meaning?
Even if there are a large number of fans in the cross talk industry, do they really understand the connotation of language arts? For the audience, can they clearly distinguish the boundary between cross talk and jokes?
What's even more worrying is that some cross talk practitioners have publicly declared that cross talk is simply funny, and cross talk and comedy must be equated. This erroneous view has even misled many fans of cross talk, making them mistakenly think that cross talk is just a pile of jokes.
Such a situation can't help but make people worry about the future development of cross talk, a language art.
2. The real criterion for good cross talk is not how many paragraphs you can recite, but whether you really master the essence of cross talk. The cross talk industry calls those jokes that can be deeply understood and perfectly displayed "live", which is a word about skill and understanding.
You need to have an in-depth understanding of the meaning and details of each cross talk, and at the same time show it perfectly on the stage, in order to truly call it "alive". There are two criteria for judging good cross talk: one is the artist's understanding and skills, they need to deeply understand the meaning and skills of each work, and show it perfectly on the stage; The second is the polishing of jokes, a cross talk cannot become a "live" piece without a long time of polishing and excellence.
One of the reasons why the Ma family's cross talk is respected by people is that their cross talk focuses on rigor and porcelain, and each cross talk is polished for a long time, which is also the soul of the Ma family's cross talk.
Both traditional cross talk and modern cross talk have a lot of excellent jokes, which have been polished and refined for a long time.
A good cross talk work is not only the result of the artist's careful polishing, but also the key to attracting the audience. Their artistic and technical content is no worse than traditional cross talk, and they can make people want to listen to it many times and want to listen to it again, which is the real "good work".
Whether it is a book or a film and television drama, the works that can be enjoyed repeatedly are because they have a unique charm, and the same is true for good cross talk. Therefore, only cross talk that has been repeatedly scrutinized and polished, and at the same time can resonate with the audience, can be called a real "good life".
1. In modern society, is there still room for cross talk to develop? Although the current cross talk market looks prosperous, somewhat similar to the scene in the 80s of the last century, in fact, it is significantly different from the previous cross talk boom period.
So, why is live streaming so popular, while TV shopping is rejected by people? In my opinion, one of the important differences is that live streaming has the added value of stars.
is also selling iron pots, and compared with a professional iron pot practitioner and a star who sells lipstick, the sales performance is far from the same. Even if the star makes a mistake in the live broadcast, the sales volume far exceeds that of ordinary iron pot practitioners.
This is because influencers and celebrities bring their own traffic and added value, and the same product feels different when buying from influencers or celebrities. In other words, it is not the live broadcast that makes the Internet celebrity popular, but the capital first makes the Internet celebrity popular, and then the Internet celebrity drives the live broadcast, which is in line with the development law of the Internet era.
Similarly, the same is true of the current cross talk market, most of the so-called cross talk stars did not become popular by their works, but were first popularized by capital or teams. Because relying on his works to become popular requires accumulation and luck, such as Guo Degang, he has studied cross talk for more than ten years and spoken cross talk for ten years, and then gradually established his reputation and popularity.
Although the current cross talk market shows a certain degree of popularity, many cross talk actors who occupy resources lack as deep accumulation as them, and can only rely on capital and marketing methods to become popular.
When these cross talk traffic stars become popular, it will trigger more imitations from their peers. In the past decade, despite the bustle of the market, the quality of cross talk works has plummeted.
The problem with most cross talk works is that good cross talk is a mellow and long wine with an endless aftertaste; And many of today's cross talk works are like cold water mixed with inferior alcohol, bitter and astringent, and tasteless.
To put it bluntly, good cross talk makes people reminisce repeatedly, and bad cross talk is not only difficult to recall, but even difficult to hear.
As a language art, cross talk has its own unique threshold and rules, as well as its development trend. However, just memorizing dozens of cross talk cannot be called a real cross talk performance, but requires in-depth understanding and research of this art.
What should be the future development direction of cross talk? How can cross talk actors really give full play to the charm of "language arts"? Hou Baolin once said that true humor is not simply funny, but requires thoughtful baggage and superb acting skills.
Most of today's cross talk performances are funny or sprinkled with dog blood to make the audience laugh, which is not a real cross talk art at all. On the contrary, Hou Baolin's art of cross talk emphasizes thoughtful baggage and superb performance skills, as well as a unique understanding and application of language arts.
The roots of cross talk lie in the intersection of cultures, and the earliest cross talk performers such as Zhu Shaowen, A Yantao, Enxu and others are all literate scholars, not street performers.
Therefore, the current false prosperity of the cross talk market and the crisis of the fall of art actually stem from the lack of cultural literacy and work taste of cross talk artists. This kind of problem is especially prominent among young cross talk actors who have become popular in recent years.
So, who can truly understand and realize the essence of "cross talk is a language art"?
In my opinion, universities and society are two places that are particularly important. The college students have a solid cultural foundation, such as Qiu Yingjun, Yu Dan and other outstanding graduates of famous universities to create and perform cross talk, undoubtedly showing a higher artistic level and taste.
There are a group of potential high-level ticket holders hidden in the society, such as Chen Su, the former main force of the second class of cross talk, and others, they all have a deep cultural heritage, so their cross talk works are more in-depth.
Even if these people don't perform cross talk in person, it's good to just focus on cross talk creation, compared to He Chi, Wang Minglu and others. Therefore, we should support and promote college cross talk, so that truly literate people can join the industry.
While they may not be as eye-catching as traffic stars, their creative direction is more robust.
Cross talk practitioners should accept knowledgeable and literate cross talk enthusiasts and ticket holders with an inclusive attitude, and guide them to participate in cross talk performances or creations. For the audience, if you can become an audience who understands cross talk, it is naturally the best, if you don't understand cross talk, then listen quietly, don't shout, and don't encourage or incite cross talk actors to perform low-level and low-level works.
Remember, cross talk is a language art.