What are the criteria for judging the level of a cross-talk actor, and what is the test of a cross-talk actor's ability? This is a long-standing problem, and there is no relatively uniform and fair answer.
A hundred years ago, the famous cross-talk artist Zhang Shouchen made a request to all actors to leave an industry for cross-talk. Several generations of cross-talk people have continued to build a large-scale and far-reaching cross-talk work system for this goal.
At the intersection of history and reality, a generation of cross-talk people has used their own efforts to spread their branches and leaves, on the one hand, to inherit and expand the territory for the inheritance of traditional works of cross-talk, on the other hand, to create new cross-talk that echoes the times, and to exert the two to the extreme, it will naturally gain the support and love of the audience.
In this article, we will explore which cross-talk actors can grasp the relationship between the sense of history and the sense of modernity very well, not only to create timeless new works, but also to show the interpretation of old passages to the fullest.
Space is limited, the display can not be exhausted, leaving more content to be handed over to the later article for evaluation. And because the author is only shallow, it is inevitable that there will be losses and deficiencies, please correct.
Here should also first state a point, involving a well-known actor, too much ink on the unknown actor does not have much significance, and can not attract everyone's resonance, I hope you understand.
Hou Baolin
Regarding the positioning of the cross-talk master Hou Baolin, it is difficult to define. The boundary between the old and the new is not clear, and to put it in layman's terms, this is inseparable from the former cross-talk improvement group.
The old duanzi has undergone innovation and become a new work with the characteristics of the times; the new work is eclectic and naturally absorbs the essence of the old duanzi. As a representative figure of cross-talk, Hou Baolin's position is naturally different.
After the 1950s, it was rare to perform old passages, because of technical limitations, the previous audio was rarely circulated, such as "Drama and Dialect", "Empty City Plan" and other large-scale works are not easy to define the ancient and modern, and can not draw a clear boundary.
Ma Sanli
Xiangsheng Taidou Ma Sanli is the symbol of cross-talk, is the soul of Jinmen cross-talk, the family of him from childhood, he has heard from childhood, the traditional cross-talk style has long been known in the chest.
Mr. Ma Ji praised him as "no one before, no one after him", and now that the development of cross-talk is sluggish, it may become a reality. There is a poem that is well written: "There are hills and ravines in the chest, and the eyebrows are made of mountains and rivers." ”
Ma Sanli's heart contains thousands of legends about art; Ma Sanli's face is full of majesty and majesty different from his age. The combination of the two has also contributed to the burst of new works and the inheritance of old paragraphs.
Ma Jia's performance of the work to the mouth-based, this is the most difficult to eat kung fu, naturally you can see the level of the level, works such as "White Affairs Society", "Kwa Residence", "Open Porridge Factory", etc. are textbook level, personal favorite is "White Things Society", and Wang Fengshan's version of the effect is too good!
There are also many new works, such as "Meeting Fan", "Buy Monkey", "Start at Ten O'Clock", the achievements of these works, the actors of the same era are unsurpassed, but limited to Tianjin, and the publicity is limited.
Regarding the work of "Buy Monkey", Liu Baorui, the stand-up king, has also performed, but whether it is the shaping of the characters, the interpretation of the plot or the sublimation of the main theme, there is a big gap with Ma Sanli.
Ma Zhiming
Shao Ma Ye adhered to the style of Ma Jia Xiangsheng and was the spokesperson of traditional Cross Talk, but in recent years, because of physical reasons, he has gradually faded out of the stage, and perhaps he will rarely have the opportunity to see Shao Ma Ye on the stage in the future!
Ma Zhiming has a traditional work called "The Big Bodyguard", which is the benchmark of the industry, and since then many actors have performed many versions that none of them can match it, either too broken, or there is no kung fu on the body, feeling that some taste is missing.
Ma Zhiming's new works should not be underestimated, and he created many classic works during his partnership with Xie Tianshun. For example, "Dispute", "Five Poisons Are Complete", "Night Mahjong Sound" are all unique.
Finally, I would like to mention the two important figures of the Ming Dynasty, one is Jiang Kun and the other is Guo Degang. If you want to argue the perspective of old passages and new works, neither of them has much success: one is too old, one is too new.
Jiang Kun as a benchmark for cross-talk in the new era, and is not limited by factors such as the times, the works performed are in line with social development, the main spin works that carry forward social education have less interpretation of traditional cross-talk, and naturally there are no classic paragraphs left.
Guo Degang's performance of cross-talk has more or less inherited traditional works, and there are new works, but they are not classics, and they have little to do with familiarity. For example, "Academic Commentary" and "Selling Cloth Heads" are works that are not tired of hearing, but new works are lackluster.
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