This traditional cross-talk of "Old Age" was produced in the late Qing Dynasty and the early Min Dynasty, and is said to have been created by Ah Yantao. Many predecessors such as Zhang Shouchen and Hou Yichen, Dai Shaofu and Yu Junbo, Chen Zizhen and Guangguangquan were good at making this work, but unfortunately they did not leave a recording. The main versions of the recordings left behind are Gao Deming and Wang Changyou (recorded by the Central People's Radio in 1961), Guo Rongqi and Ma Zhicun, Wang Shichen and Zhao Shizhong ("Collection of Traditional Chinese Cross-Talk" recorded in Tianjin in 1997), Wu Zhaonan and Wei Longhao, Li Boxiang and Sun Shaochen, etc. At present, there are also people in tea houses in Beijing and Tianjin who have made this work, but because of the estrangement between this piece of life and the contemporary era, coupled with the fact that the passage is not good, it is relatively warm. Therefore, there are not many performers, simple combing, mainly Chen Mingzhi and Deng Jizeng, Mr. Zhang Yongyong; Liu Wenbu and Zheng Fushan; Wang Yuebo and Wang Wenlin, Chen Mingzhi; Guo Degang and Yu Qian; Cao Yunjin and Liu Yuntian; Gao Feng and Guo Degang and Luan Yun are equal.
The background of the creation of this work is that ah Yantao, a disciple of the fallen Eight Flags, uses absurd techniques to remember the glory of the past and praise the prosperity of Kangqian. It is also said that at that time, as the people at the bottom of the city, cross-talk artists were precarious and living in the depths of the water. Therefore, it is particularly desirable to improve the quality of life and improve the living environment. This cross-talk expressed their yearning for a better life, and also reflected the darkness and withering of the society at that time. After the founding of the People's Republic of China, some scholars believed that this cross-talk was not suitable for performance in the new era, because it was suspected of praising the past and the present, in fact, it did not have to be more real.
The passage has been performed by many people, although it is similar, but it can also faintly see the context of its circulation. From the text compiled by Mr. Guo Qiru, we can also see its original state, that is, the section "Qianlong Year" is still retained. The specific content is as follows: Qianlong Year Qianlong Year, silver money is everywhere. Qianlong Nian, smiling and hehe, a money maker and two hungry. Three days and one wind, five days and one rain, the wind does not break the forest, the rain does not hurt the seedlings, the horses put the South Mountain, the knives and guns are put into storage, and the scene of peace is peaceful. This passage is said by the comic, and said: The cold is not cold, not the age scene; the heat is not hot, the people are in trouble. During the Qianlong period, it was particularly cold when it was cold, and it was particularly hot when it was hot. And in the following text, how to describe how to be cold and how to be hot. This version seems to be to praise the prosperity of Qianlong, and some people even say that it is a song-type cross-talk. Mr. Tian Lihe believes that the "Qianlong Year" section is actually just an additional paragraph, which can be completely deleted and has nothing to do with the center of the paragraph. Moreover, Mr. Zhang Shouchen did not mention this section when he taught this work. Mr. Tian further explained that since he is an "old man", there is no time regulation. This was confirmed by the actor's performance in the future, and almost all versions have adopted the "Qin Shi Huang" section to live (Wang Yuebo Wang Wenlin's version even adopts the "First Year of the Eight Precepts of the Pig"), and directly explains that it is to tell "novelty". It can be seen that even if the artists created at the beginning of their creation to remember the prosperity of Qianlong and pursue a better life. But now, the strip is purely for entertainment, and there is no problem of "Gegu".
In the preserved version, the main content of the passage is to talk about how the weather between the elderly is cold, cold to the extent that vinegar freezes into ice, spits into balls, and is used with sticks; hot, to the point where the liquor mask melts (this is almost unheard in many performances), roast chicken roast sheep, and burnt hair becomes bald. Such extreme weather naturally reminds the crowd of what to do with the crops. Who knows that the more funny people talk, the happier they are, and they even say that it is all heaven and earth without thinking, such as snow is white noodles, and say what noodles become where they go down (this place has a very interesting point, that is, the place names mentioned by the actors in Tianjin and Beijing when they make them have been processed by themselves, so that the strips are closer to the lives of the locals). In addition, when it rains, it is sesame oil, when it is frost, it is salt, when it is hail, it is under the soup, when it is dew, it is vinegar, and it is boring noodles when it is thundering, etc. Then he mentioned the extremely low prices of the elderly, and also gave a series of examples, such as a money made of two cows, three sheep, a pig, ninety-four pig seedlings, green vegetables for a year (the specific number varies from version to version), and so on. The money-making is the coins minted by the official furnaces of the Ming and Qing dynasties (which also shows that the "Qin Shi Huang" section in the paragraph was later changed), and a coin is one article, and a thousand texts are a string, and the silver is one or two. In today's rising prices, the elderly are really an ideal society! In the words of the praise, the more the "grandson" talked, the more he talked, the more he was embarrassed, and later he even grunted out a sentence of tofu white for people to eat, and the tofu shop keeper had to risk being beaten and scolded and begged the patron to eat. This is really time to hold back and "Jedi strike back" and chase after it. The other party first opened his mouth: first said that the tofu is white, so it is white for people to eat. Then he pulled the problem to the casserole (this section is not common, Guo Rongqi and Mr. Ma Zhicun's version), the treasurer, and even looked for problems from the pig, saying that the pig has no teeth and so on. In the end, under the continuous cross-examination of the praise, it is difficult to justify itself. It can be described as a compact language and a lot of witty words.
For this paragraph, it is also mentioned above that the reason why the frequency of performance is relatively low may be because of the times, or perhaps the paragraph itself is relatively warm, and generally does not produce a very hot effect in the teahouse. So someone suggested that the paragraph could be changed. From my personal point of view, I still appreciate it, because after all, to inherit this kind of paragraph, we can't help but make changes that are suitable for the times. One enthusiast proposed to link the segment to the current price issue, which may bring the audience closer, but may lose the previous weather segment and lose its traditional flavor. Personally, I don't think I can make a big move, just put a little effort into laying the groundwork in front. Because these passages that have been handed down, there are very few pad words, and they are generally directly into life. The methods are different: for example, from the age of the other party to live (Wang Shichen and Mr. Zhao Shizhong's version), from asking about the content of the performance of the cross-talk (Gao Deming and Mr. Wang Changyou's version), from reading books to talk about the old and old things (Guo Rongqi and Mr. Ma Zhicun's version), etc., I personally think that at this point, Li Boxiang and Mr. Sun Shaochen's laying is relatively good, that is, Li Xian said that he was a historian, and then mentioned ancient things in a joking tone, which is very natural. It also gives people a relaxed feeling.
Recommended Version:
Gao Deming and Wang Changyou: ★★★★★ There are not many recordings left by Mr. Gao Deming, but this passage is called superior. Mr. Wang Changyou's voice was originally hoarse, but it was in dramatic contrast with Mr. Gao's high and bright voice. Both are big guys, and the time is short and the pace is tight.
Guo Rongqi and Ma Zhicun: ★★★★ ☆ This paragraph was originally solid and calm, and there was nothing special about it, but first, Mr. Guo made adjustments in some subtleties and felt more real and credible; the other was a small mistake that appeared in it: Mr. Ma said twice in a row when talking about the bald man he knew, "There is hair in the back, no hair in front", Mr. Guo did not stumble at all, causing a misunderstanding that the original text is so, it is really everyone.
Li Boxiang and Sun Shaochen: ★★★★ ☆ This work is very suitable for this "Li Da Vernacular Egg" to interpret, there are many laughs that are actually not brought by the paragraph itself, and the forty-minute paragraph does not feel long.