The origin of [Laughing Lin Wujie].
In the 1930s and 1940s, Zhang Qiyuan, manager of Shunchanglong Silk Satin Village, sent Gao Deming, Zhang Jieyao, Tang Jincheng, Xu Degui, and Dai Shaofu, who were performing cross-talk on the radio at that time, to a table with the words "Xiaolin Wujie" embedded in it, and since then the name of "Xiaolin Wujie" has spread in Beijing and Tianjin.
I. Gao Deming (1911-1960) Cross-talk actor. Peking Man. Born in a cross-talk family, he followed his father Gao Wenyuan's doctrine of cross-talk since childhood, and later worshiped Feng Kunzhi as a teacher. He is in the second line of the family, and his brother Gao Deguang and brother Gao Deliang are both cross-talk actors. Gao Deming said that the basic skills of cross-talk are solid, the voice is loud, and he is known for speaking and teasing, and the representative songs include "Marriage in Dreams", "Vinegar Lamplighting", "Cooking", "Old And Old", etc. Gao Deming and Xu Degui have been talking for the longest time, teasing and clapping, cooperating tacitly, performing on commercial radio stations in Beijing for many years, and joining hands with single-string brand singer Cao Baolu and others, and are nicknamed "Cao (groove) Gao (cake)". After the founding of the People's Republic of China, Gao Deming joined the Beijing Qu Art Troupe as an actor, cooperating with Fu Baoren to perform cross-talk. Most of the recordings we often hear about working with Fu Baoren were left in the 1950s. Fu Baoren was not originally a pedestrian, originally working at the Xuanwu Cultural Center, and was later transferred to the Third Regiment. Gao Deming's other masterpiece, "Vinegar Lighting", seems to have no recording. Gao Deliang's most famous disciple was Gao Fengshan.
ZHANG Jieyao (1893-1971). Also known as Zhang Baohua, Shi Kui, Ji Zu, stage name Zhang Fool. When he was a child, he entered the Hebei Zizi Opera Class, and then went everywhere to break into the north and south, and Zhang Jieyao wrote and acted in many new passages. Such as "Guan Gong Zhan Qin Qiong", "Luo Cheng Drama Sable Cicada", "Zhang Fei Fights Yan Song", etc. Zhang Jieyao was the only cross-talk actor at that time who left Ren Dan short hair and performed in a suit. He also produced irregular lead-print pamphlets. Titled "Laughing Sea", it was sold to the audience during the performance. He performed 429 cross-talks in his lifetime, and later received twelve disciples, called [Twelve Green Pines].
3. Tonkin Seong (1890-1980) Cross-talk actor, ventriloquist. Peking Man. Stage name Tang Blind, said cross-talk master Chengjiao Dehai. In the old days, he used to talk to Zhu Kuoquan in Beijing Tianqiao. According to the Yun tourist's "Jianghu Cong Tan" (1936 Beiping Ping yan newspaper edition), in tianqiao, "he and Tian Lame Zi ganged up for a few years, usually, only cared about food and clothing, since the Xidan Shopping Mall was opened, they rented a field to do business", the business was very good, Xi Tian Lame man contracted the disease and died, during which Tonkin City has been taking care of it. Tang Jincheng once studied ventriloquism with Zhang Kunshan (Hundred Birds Zhang), and was good at imitating the chirping of birds and animals, and could also learn the sound of shaking empty bamboo and the sound of knife sharpeners blowing trumpets. His ventriloquism is performed in the form of cross-talk, a combination of ventriloquism and cross-talk, which is relaxed and lively, interspersed with "baggage" from time to time. In the 1940s, in addition to participating in daily performances, Tonkin City also broadcast on radio stations with Xu Degui and others, which gradually became famous.
IV. Xu Degui, date of birth and death unknown, disciple of Jiao Dehai. Earlier, in cooperation with Gao Deming, when Beijing was liberated, he went to Baotou City, Inner Mongolia, and later suffered a heart attack, died here, and was posthumously honored as a martyr. Gao Xu and the two became famous very early, and it seems that there is no recording leftover. Very sorry.
5. Dai Shaofu, (?) —1943) His ancestors opened a bar house in Beijing, and he himself came from a good family, and loved quyi since childhood. Later, the family declined, and resolutely went to the sea. The form of counting noble treasure was processed and compiled into a cross-talk "counting treasure" (also known as "Tongrentang"). After 1938, he often performed with Yu Junbo, Dai played a number of Noble artists, Yu played the shop keeper, and sang harmony with each other, adding a lot of "baggage", which was both intellectual and interesting. In the 1940s, it was popular all over Tianjin. Later, because of opium smoking, coupled with the persecution of the old society, he died of hatred, and was only about thirty years old at that time.
Mention Gao Deming's name, the older generation of artists are all praised; the author has asked Zhao Shizhong, Chen Yongquan and other old actors, when they talk about Gao Deming's cross-talk, it is really well-known. The three brothers of the Gao clan are sorted by light, light, and light. Gao Deguang (1904-1950) has been performing in Jinan, Shandong and other places until the death of a guest in a foreign country, which can be described as "a stranger in a foreign land". Gao Deliang (1913-1961) spent his life mostly praising, and in his later years he mainly gave Gao Fengshan a lot of work, and the two representative programs "Counting Treasures" were all the rage in the 1950s. Gao Fengshan called Deliang the "Three Fathers", and Deliang was also the master of his xiangsheng gate. Gao Deliang's praise is known for being good at mastering the heat, paying attention to the rhythm of a live advance, and can lead back the place where the "branch" of the comic is "branched" out with one sentence, which is unique in the three groups of the Northern Qu, especially good at holding the children and mothers. The most famous person in the Gao family is mr. Gao Deming, the second eldest. Gao Deming: (1911-1960) Beijinger. He learned art from his father since childhood. At the age of 10, he learned cross-talk with his teacher. Later, he performed in Beiping, Tianjin, Jinan and other places. After the founding of the People's Republic of China, he served as an actor in the Beijing Qu Art Troupe. His repertoire includes "Vinegar Lights Up", "Money Fan Goes Home", "Dream Marriage" and so on. (Dictionary of Chinese Music and Art Circles, China Radio International Edition, p. 715) Gao Deming's father, Gao Wenyuan, was called "Old High School Er" (there should be a brother Gao Wenkui), and Gao Deming also had the nickname of "High Two", so father and son were collectively called "Big and Small High Two". Gao Deming did not formally worship his teacher, and learned art with his father since childhood. Later, in order to enter this door, he prostrated himself on the grave of Lu Dejun (one is Lu Dejun, known as "Lu San'er"), which is rare in the cross-talk world. Therefore, the cross-talk family trees handed down are inconsistent in this regard. For example, Mr. Ma Sanli's memory classified him as a third-generation artist, a disciple of Feng Kunzhi, and the three brothers were all under his father's door, and so on. Just talk about it here. Gao Deming's fame in Beijing is well known; but he did not only perform here, but also, like other artists, traveled to Tianjin, Shandong and other places, and also traveled to Xinjiang. When Beijing was liberated, he went to Xinjiang to join the Corps of Culture and Labor. It should be noted here that his partner at the time, Mr. Xu Degui (a disciple of Jiao Dehai), went to Baotou City, Inner Mongolia, and later suffered a heart attack, died here, and was posthumously honored as a martyr, which is also a fortunate thing in the cross-talk industry. Gao Xu and his wife became famous very early, and it seems that there is no recorded legacy; compared with the later Wang Changyou and Fu Baoren, it should be said that the cooperation between the two is the most tacit. Later, after Gao returned to Beijing, he joined the Beijing Quyi Troupe (later renamed beijing Quyi Third Troupe) and cooperated with Mr. Zhao Yiru (1899-1954), the master of the cross-talk "Zhao Family Class". After Zhao's death, he collaborated with the veteran entertainer Tan Boru (1892-1976?). ), Wang Changyou and others have cooperated successively. As for the recordings of cooperation with Fu Baoren that everyone often hears now, most of them were left in the 1950s. Fu Baoren was not originally a pedestrian, originally working at the Xuanwu Cultural Center, and was later transferred to the Third Regiment. There are still two-person cooperation of "Cooking", "Unveiling Tiles", "Gambling Theory", etc., and the Central People's Radio has a recording of "Dream Marriage", but it is very rare. Gao Deming's other masterpiece, "Vinegar Lighting", seems to have no recording, and according to the predecessors, the text manuscripts left behind ("Chinese Traditional Crosstalk Encyclopedia", "Traditional Crosstalk Collection", "Traditional Crosstalk Anthology" all contain this paragraph) are not the same as the performance drafts of that year, and li Boxiang Du Guozhi's "Vinegar Lighting" that we often listen to today are even more different. Gao Deming, Wang Changyou (1912-1984), Wang Shichen (1922-2001), etc. also left three people behind, such as "The Trainer", "Pickpocketing Horse Coat", etc., of which "Pickpocketing Horse Coat" has stills. In addition, the new program performed by Gao Deming is also very distinctive. Mr. Deming was illiterate, and at that time, the new life was tight, and most of the literate juniors recited the words to remember; even so, basically two or three times can be completed, and the performance on stage is accurate. For example, "Lai Er Two" (the Central People's Radio has a recording passed down), which was originally Wang Shichen's representative work, but it is said that he made it better than Wang. In addition, according to the seniors, At that time, Gao Deming already had a leg disease, and he was on the field with a large cane and turned a crutch; and he was tall, fierce in appearance, but very good. At that time, when I performed "Yesterday", I moved people to cry, and I am afraid that it can be regarded as a "new version of "Theory of Crying and Laughing"" . Although this is suspected of being a family's statement, it also shows that its skill is by no means comparable to today's version. Gao De was in poor condition tomorrow night, and was said to have died of a myocardial infarction and died in 1960. It is worth recalling that his death is the same cause as Xu Degui's death, and this disease is not an easy disease, probably a kind of ghost fate. The following year, the third brother Deliang followed. Since then, The Gao Family Gate has turned into a cloud of smoke and disappeared into the memory of the old Capital. The reason for this is that I personally believe that: First, the Beijing Qu Art Troupe is in a slump; second, Gao's disciples are rare, and even the disciples have not developed according to their characteristics.
Zhang Jieyao (1893-1971), also known as Zhang Baohua, Zhang Shikui, Zhang Jizu, stage name Zhang Fool. A native of Tianjin, a bannerman of the Han Dynasty, his ancestral home is Jiaxing, Zhejiang, and his ancestors have been officials for generations. After the decline of the family road, his father Zhang Wulin went into exile. Become a juggler and critic artist. Zhang Jieyao was born in Tianlu, studied private school at an early age, and entered a Hebei Zizi opera class to learn drama at the age of ten in the twenty-ninth year of Qing Guangxu (1903). Unable to bear the torment, he escaped two years later. After that, he picked up coal cores, pulled small companions, played deacons, did chores, and lived a wandering life. In Jiaozuo, Henan Province, he joined the Peking Opera class organized by Peking Opera artist Tian Wanqiao, singing Wusheng and Laosheng. Later, he moved into Beijing and lived in his sister's house. He often goes to the Tianqiao Market to listen to music, loves to listen to the fascinating cross-talk, and learns to say some himself. In the eighth year of the Republic of China (1919), he cooperated with Luo Caiwu and Wang Ziliang to perform cross-talk in Shanghai, Suzhou and other places. In the ninth year of the Republic of China, he transferred to nanjing Confucius Temple for performance. In the 10th year of the Republic of China, he performed at The Xiangguo Temple in Kaifeng, and then performed in Zhengzhou, Xuchang, Luohe, Zhumadian, Xinyang, Hankou and other places. In the eleventh year of the Republic of China, he began to perform cross-talk with Xu Degui in Hankou, and soon moved to Kaifeng to perform. Later, he performed in Xuzhou, Bengbu and Nanjing. In the 20th year of the Republic of China, Zhang Jieyao returned to Beijing. He met at the White Pagoda Temple and reunited with Xu Degui, who was performing there, and a piece of the "Chopping Scripture Hall" of the Qi School of Peking Opera was warmly welcomed by the audience. The next day, he officially entered the class to perform, first performing in the south shed of Xidan Mall with Chang Baochen, Hu Lanting and Hu's daughter Little Apple. Later, he went to the North Shed to perform with Gao Deming, Xu Degui, Tang Jincheng, Zhu Kuoquan (big bread), Gao Deguang and so on. During the New Year's Festival and the performance of the church, in order to enliven the atmosphere, in addition to performing cross-talk and double reeds, they sometimes dressed up on stage to reverse small dramas such as "Little Tomb", "Noodle Bowl", "Jujube" and so on. Because he went south to the north, learned a wide range of harvests, wrote and performed many new passages, and brought in many new contents and new techniques to the northern cross-talk, such as learning Shanghainese, learning to sing and sell pear paste candy, etc. brought from the south, he carefully arranged and performed many new passages such as "Guan Gong Zhan Qin Qiong", "Luo Cheng's Playing Sable Cicada", "Zhang Fei Beats Yan Peng", "Illiterate Family Letter", "Marriage Poem", "Pan Qiaoyun's Complaint", "Monkey Play", "Learning to Fall", "Imposters", "Twenty-Eight Lodges" and so on. In the performance, he entrusted himself with a good look, pretended to be stupid and stunned, and learned girls, old ladies, Shanghai businessmen, and Henan artists who looked like and resembled each other. Zhang Shouchen, a famous cross-talk artist, once praised him: "Silly uncle is full of mouths. In the mid-1930s, in the juggling field of Beijing's Xidan Mall, Zhang Jieyao, Gao Deming, Xu Degui, Tang Jincheng, and Dai Shaofu were known as the "Five Masters of Laughing Forest". Zhang Jieyao was the only cross-talk actor at that time who left Ren Dan short hair and performed in a suit. He also produced irregular lead-print pamphlets, titled "Laughing Sea", which were sold to the audience during performances. In the 30th year of the Republic of China, Zhang Jieyao and Liu Baoquan, a famous drummer of Jingyun, went to Shanghai to perform together. Also on the way were qu artists Lin Hongyu, Ji Pingsan, Tao Xiangru and so on. In Shanghai, his performance was very popular, and the audience presented a pennant with four big characters embroidered with "Man Qian's Legacy". During this period, he also performed in Baoding, Shijiazhuang, Zhengzhou and Kaifeng. In Kaifeng, he successively performed with Tao Xiangjiu and Liu Baorui. He once taught Liu Baorui some stand-up comedy, such as "The Cobbler Beckons Relatives", "Twenty-Eight Houses", "The Ancestor of a Hundred Industries" and so on. In the 37th year of the Republic of China, Zhang Jieyao went to Zhengzhou and performed with Guo Jidong, Wang Benlin, Wang Xiaosong, Tian Songshan, and Xin Songbin. After the liberation of the local people, he performed with Yang Songlin, Wang Wenrui, Chong Peilin and his daughter Zhang Songqing (stage star). After the founding of the People's Republic of China, Zhang Jieyao ended his career as a mobile artist, and in 1951, the family settled in Xi'an, Shaanxi. At this time, he cooperated with Zhang Yutang, Liu Kuoyi, Zhao Wenzeng, Guan Baoqi, Qi Cuncai and others. In July 1961, at the invitation of the Beijing Municipal Qu Art Troupe and Hou Baolin, Zhang Jieyao traveled from Xi'an to Beijing, where Zhang Tubei, Hou Baolin and Liu Baorui respectively praised him, and recorded cross-talk materials on the Central People's Radio: "Guan Gong Zhan Qin Qiong", "Luo Cheng's Drama Sable Cicada", "Zhang Fei's Fight Yan Song", "Six Months", "Henan Opera", "War Horse Chao", "Dialect", and "Wine Poems". In his lifetime, Zhang Jieyao performed 429 cross-talks, of which 387 were cross-talk (classified according to the artistic means of cross-talk, 103 sections of the Speaking Department, 29 sections of the Faculty, 50 sections of the Comma Department, 54 sections of the Singing Department, 18 sections of the Batch Department, 7 paragraphs of the TanBu, and 26 sections of the Lecture Department), 15 paragraphs of the three-person cross-talk, and 27 paragraphs of the medium-length stand-up comedy. Many of these passages were written or adapted by himself. Zhang Jieyao once worshipped Gao Wenyuan's (Gao Deming) father as a teacher in Xiangshengxing, and he taught two disciples in his lifetime, namely Han Zikang and Liu Yueqiao. A total of twelve disciples were received, including Shan Songting, Guan Songpeng, Yuan Songqi, Tian Songshan, Yang Songlin and others, called "Twelve Green Pines".