Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
03
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
03
After talking about Ma Ji's achievements, let's talk about his disciples. Ma Ji had many apprentices, known as Ma Jiajun, including Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Wang Qianxiang, Li Zengrui, Xiao Lin and so on.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
03
After talking about Ma Ji's achievements, let's talk about his disciples. Ma Ji had many apprentices, known as Ma Jiajun, including Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Wang Qianxiang, Li Zengrui, Xiao Lin and so on.
Among these apprentices, my personal favorite is still Jiang Kun. And Jiang Kun is very similar to Ma Ji, like where? It's that he can write performances. The early "So Photographed", later and Li Wenhua's "Poetry and Love" and "Thinking of Wrong" and so on, this is all written by Jiang Kun, and it is also to seize the pain points and hot spots in society to write. Even with later cooperation with Liang Zuo, Jiang Kun also made a lot of rewrites on the basis of Liang Zuo's original work. His performance on stage, especially in the stage of cooperation with Li Wenhua, Jiang Kun's cleverness on stage is a bit similar to Ma Ji's youth. Only later, Jiang Kun began to engage in leadership work, and the original cross-talk actor Jiang Kun slowly became another Jiang Kun.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
03
After talking about Ma Ji's achievements, let's talk about his disciples. Ma Ji had many apprentices, known as Ma Jiajun, including Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Wang Qianxiang, Li Zengrui, Xiao Lin and so on.
Among these apprentices, my personal favorite is still Jiang Kun. And Jiang Kun is very similar to Ma Ji, like where? It's that he can write performances. The early "So Photographed", later and Li Wenhua's "Poetry and Love" and "Thinking of Wrong" and so on, this is all written by Jiang Kun, and it is also to seize the pain points and hot spots in society to write. Even with later cooperation with Liang Zuo, Jiang Kun also made a lot of rewrites on the basis of Liang Zuo's original work. His performance on stage, especially in the stage of cooperation with Li Wenhua, Jiang Kun's cleverness on stage is a bit similar to Ma Ji's youth. Only later, Jiang Kun began to engage in leadership work, and the original cross-talk actor Jiang Kun slowly became another Jiang Kun.
The one who likes it again is Liu Wei Feng Gong. Now it is said that Feng Gong and Niu Qun have cooperated for more than ten years in the Spring Festival Gala, in fact, before partnering with The Niu Herd, the younger Feng Gong and Liu Wei have performed a lot of vigorous cross-talk together, including "Spring Girl", "Clap Song" and so on, and there is also the period of "Qiao To the Film Association". Although the two of them were not as hot as when Feng Gong and Niu Herd cooperated later, they were also very attractive, especially for young people. Unfortunately, the two were separated later, and Ma Ji cooperated with his apprentice Liu Wei for many years like protecting giant pandas.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
03
After talking about Ma Ji's achievements, let's talk about his disciples. Ma Ji had many apprentices, known as Ma Jiajun, including Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Wang Qianxiang, Li Zengrui, Xiao Lin and so on.
Among these apprentices, my personal favorite is still Jiang Kun. And Jiang Kun is very similar to Ma Ji, like where? It's that he can write performances. The early "So Photographed", later and Li Wenhua's "Poetry and Love" and "Thinking of Wrong" and so on, this is all written by Jiang Kun, and it is also to seize the pain points and hot spots in society to write. Even with later cooperation with Liang Zuo, Jiang Kun also made a lot of rewrites on the basis of Liang Zuo's original work. His performance on stage, especially in the stage of cooperation with Li Wenhua, Jiang Kun's cleverness on stage is a bit similar to Ma Ji's youth. Only later, Jiang Kun began to engage in leadership work, and the original cross-talk actor Jiang Kun slowly became another Jiang Kun.
The one who likes it again is Liu Wei Feng Gong. Now it is said that Feng Gong and Niu Qun have cooperated for more than ten years in the Spring Festival Gala, in fact, before partnering with The Niu Herd, the younger Feng Gong and Liu Wei have performed a lot of vigorous cross-talk together, including "Spring Girl", "Clap Song" and so on, and there is also the period of "Qiao To the Film Association". Although the two of them were not as hot as when Feng Gong and Niu Herd cooperated later, they were also very attractive, especially for young people. Unfortunately, the two were separated later, and Ma Ji cooperated with his apprentice Liu Wei for many years like protecting giant pandas.
Among These disciples of Ma Ji, if you want to say that the voice is good, it must belong to Zhao Yan. Even if you listen to his twenty or thirty-year-old voice now, it is reasonable to say that he is very young, but his voice also seems to be beautiful and heavy, as if he has learned to broadcast, and there is no broadcast cavity, and it is very harmonious with Ma Ji's voice. Because Zhao Yan was young, Ma Ji deliberately created a lot of comical cross-talk at that time, such as "Hundred Blows" and "Special Diseases", so that Zhao Yan's skills could also be revealed.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
03
After talking about Ma Ji's achievements, let's talk about his disciples. Ma Ji had many apprentices, known as Ma Jiajun, including Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Wang Qianxiang, Li Zengrui, Xiao Lin and so on.
Among these apprentices, my personal favorite is still Jiang Kun. And Jiang Kun is very similar to Ma Ji, like where? It's that he can write performances. The early "So Photographed", later and Li Wenhua's "Poetry and Love" and "Thinking of Wrong" and so on, this is all written by Jiang Kun, and it is also to seize the pain points and hot spots in society to write. Even with later cooperation with Liang Zuo, Jiang Kun also made a lot of rewrites on the basis of Liang Zuo's original work. His performance on stage, especially in the stage of cooperation with Li Wenhua, Jiang Kun's cleverness on stage is a bit similar to Ma Ji's youth. Only later, Jiang Kun began to engage in leadership work, and the original cross-talk actor Jiang Kun slowly became another Jiang Kun.
The one who likes it again is Liu Wei Feng Gong. Now it is said that Feng Gong and Niu Qun have cooperated for more than ten years in the Spring Festival Gala, in fact, before partnering with The Niu Herd, the younger Feng Gong and Liu Wei have performed a lot of vigorous cross-talk together, including "Spring Girl", "Clap Song" and so on, and there is also the period of "Qiao To the Film Association". Although the two of them were not as hot as when Feng Gong and Niu Herd cooperated later, they were also very attractive, especially for young people. Unfortunately, the two were separated later, and Ma Ji cooperated with his apprentice Liu Wei for many years like protecting giant pandas.
Among These disciples of Ma Ji, if you want to say that the voice is good, it must belong to Zhao Yan. Even if you listen to his twenty or thirty-year-old voice now, it is reasonable to say that he is very young, but his voice also seems to be beautiful and heavy, as if he has learned to broadcast, and there is no broadcast cavity, and it is very harmonious with Ma Ji's voice. Because Zhao Yan was young, Ma Ji deliberately created a lot of comical cross-talk at that time, such as "Hundred Blows" and "Special Diseases", so that Zhao Yan's skills could also be revealed.
Wang Qianxiang and Li Zengrui are both apprentices of Ma Ji, they are not as hot as the ones mentioned earlier, but there are also some relatively good works, such as "Old Cattle Herding", "Drama and Song", and "Changing Packaging". On the one hand, of course, he sings, many times like professional singers, on the other hand, he does not just sing, some cross-talk based also has several paragraphs, and his original Xiaolin Radio Station is one of the symbols of that era. Ma Ji's other apprentices also included Han Lancheng, Chang Peiye, Huang Hong, and so on.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
03
After talking about Ma Ji's achievements, let's talk about his disciples. Ma Ji had many apprentices, known as Ma Jiajun, including Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Wang Qianxiang, Li Zengrui, Xiao Lin and so on.
Among these apprentices, my personal favorite is still Jiang Kun. And Jiang Kun is very similar to Ma Ji, like where? It's that he can write performances. The early "So Photographed", later and Li Wenhua's "Poetry and Love" and "Thinking of Wrong" and so on, this is all written by Jiang Kun, and it is also to seize the pain points and hot spots in society to write. Even with later cooperation with Liang Zuo, Jiang Kun also made a lot of rewrites on the basis of Liang Zuo's original work. His performance on stage, especially in the stage of cooperation with Li Wenhua, Jiang Kun's cleverness on stage is a bit similar to Ma Ji's youth. Only later, Jiang Kun began to engage in leadership work, and the original cross-talk actor Jiang Kun slowly became another Jiang Kun.
The one who likes it again is Liu Wei Feng Gong. Now it is said that Feng Gong and Niu Qun have cooperated for more than ten years in the Spring Festival Gala, in fact, before partnering with The Niu Herd, the younger Feng Gong and Liu Wei have performed a lot of vigorous cross-talk together, including "Spring Girl", "Clap Song" and so on, and there is also the period of "Qiao To the Film Association". Although the two of them were not as hot as when Feng Gong and Niu Herd cooperated later, they were also very attractive, especially for young people. Unfortunately, the two were separated later, and Ma Ji cooperated with his apprentice Liu Wei for many years like protecting giant pandas.
Among These disciples of Ma Ji, if you want to say that the voice is good, it must belong to Zhao Yan. Even if you listen to his twenty or thirty-year-old voice now, it is reasonable to say that he is very young, but his voice also seems to be beautiful and heavy, as if he has learned to broadcast, and there is no broadcast cavity, and it is very harmonious with Ma Ji's voice. Because Zhao Yan was young, Ma Ji deliberately created a lot of comical cross-talk at that time, such as "Hundred Blows" and "Special Diseases", so that Zhao Yan's skills could also be revealed.
Wang Qianxiang and Li Zengrui are both apprentices of Ma Ji, they are not as hot as the ones mentioned earlier, but there are also some relatively good works, such as "Old Cattle Herding", "Drama and Song", and "Changing Packaging". On the one hand, of course, he sings, many times like professional singers, on the other hand, he does not just sing, some cross-talk based also has several paragraphs, and his original Xiaolin Radio Station is one of the symbols of that era. Ma Ji's other apprentices also included Han Lancheng, Chang Peiye, Huang Hong, and so on.
We look at many cross-talk actors, often find that the master and apprentice do not match the phenomenon of popularity, but here in Ma Ji, whether it is Hou Baolin of his previous generation, or Jiang Kun and Feng Gong of the later generation, of course, including Ma Ji himself, the three generations of masters and apprentices are all top figures in the cross-talk industry, which is very difficult to do, and is a real famous teacher and disciple.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
03
After talking about Ma Ji's achievements, let's talk about his disciples. Ma Ji had many apprentices, known as Ma Jiajun, including Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Wang Qianxiang, Li Zengrui, Xiao Lin and so on.
Among these apprentices, my personal favorite is still Jiang Kun. And Jiang Kun is very similar to Ma Ji, like where? It's that he can write performances. The early "So Photographed", later and Li Wenhua's "Poetry and Love" and "Thinking of Wrong" and so on, this is all written by Jiang Kun, and it is also to seize the pain points and hot spots in society to write. Even with later cooperation with Liang Zuo, Jiang Kun also made a lot of rewrites on the basis of Liang Zuo's original work. His performance on stage, especially in the stage of cooperation with Li Wenhua, Jiang Kun's cleverness on stage is a bit similar to Ma Ji's youth. Only later, Jiang Kun began to engage in leadership work, and the original cross-talk actor Jiang Kun slowly became another Jiang Kun.
The one who likes it again is Liu Wei Feng Gong. Now it is said that Feng Gong and Niu Qun have cooperated for more than ten years in the Spring Festival Gala, in fact, before partnering with The Niu Herd, the younger Feng Gong and Liu Wei have performed a lot of vigorous cross-talk together, including "Spring Girl", "Clap Song" and so on, and there is also the period of "Qiao To the Film Association". Although the two of them were not as hot as when Feng Gong and Niu Herd cooperated later, they were also very attractive, especially for young people. Unfortunately, the two were separated later, and Ma Ji cooperated with his apprentice Liu Wei for many years like protecting giant pandas.
Among These disciples of Ma Ji, if you want to say that the voice is good, it must belong to Zhao Yan. Even if you listen to his twenty or thirty-year-old voice now, it is reasonable to say that he is very young, but his voice also seems to be beautiful and heavy, as if he has learned to broadcast, and there is no broadcast cavity, and it is very harmonious with Ma Ji's voice. Because Zhao Yan was young, Ma Ji deliberately created a lot of comical cross-talk at that time, such as "Hundred Blows" and "Special Diseases", so that Zhao Yan's skills could also be revealed.
Wang Qianxiang and Li Zengrui are both apprentices of Ma Ji, they are not as hot as the ones mentioned earlier, but there are also some relatively good works, such as "Old Cattle Herding", "Drama and Song", and "Changing Packaging". On the one hand, of course, he sings, many times like professional singers, on the other hand, he does not just sing, some cross-talk based also has several paragraphs, and his original Xiaolin Radio Station is one of the symbols of that era. Ma Ji's other apprentices also included Han Lancheng, Chang Peiye, Huang Hong, and so on.
We look at many cross-talk actors, often find that the master and apprentice do not match the phenomenon of popularity, but here in Ma Ji, whether it is Hou Baolin of his previous generation, or Jiang Kun and Feng Gong of the later generation, of course, including Ma Ji himself, the three generations of masters and apprentices are all top figures in the cross-talk industry, which is very difficult to do, and is a real famous teacher and disciple.
04
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
03
After talking about Ma Ji's achievements, let's talk about his disciples. Ma Ji had many apprentices, known as Ma Jiajun, including Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Wang Qianxiang, Li Zengrui, Xiao Lin and so on.
Among these apprentices, my personal favorite is still Jiang Kun. And Jiang Kun is very similar to Ma Ji, like where? It's that he can write performances. The early "So Photographed", later and Li Wenhua's "Poetry and Love" and "Thinking of Wrong" and so on, this is all written by Jiang Kun, and it is also to seize the pain points and hot spots in society to write. Even with later cooperation with Liang Zuo, Jiang Kun also made a lot of rewrites on the basis of Liang Zuo's original work. His performance on stage, especially in the stage of cooperation with Li Wenhua, Jiang Kun's cleverness on stage is a bit similar to Ma Ji's youth. Only later, Jiang Kun began to engage in leadership work, and the original cross-talk actor Jiang Kun slowly became another Jiang Kun.
The one who likes it again is Liu Wei Feng Gong. Now it is said that Feng Gong and Niu Qun have cooperated for more than ten years in the Spring Festival Gala, in fact, before partnering with The Niu Herd, the younger Feng Gong and Liu Wei have performed a lot of vigorous cross-talk together, including "Spring Girl", "Clap Song" and so on, and there is also the period of "Qiao To the Film Association". Although the two of them were not as hot as when Feng Gong and Niu Herd cooperated later, they were also very attractive, especially for young people. Unfortunately, the two were separated later, and Ma Ji cooperated with his apprentice Liu Wei for many years like protecting giant pandas.
Among These disciples of Ma Ji, if you want to say that the voice is good, it must belong to Zhao Yan. Even if you listen to his twenty or thirty-year-old voice now, it is reasonable to say that he is very young, but his voice also seems to be beautiful and heavy, as if he has learned to broadcast, and there is no broadcast cavity, and it is very harmonious with Ma Ji's voice. Because Zhao Yan was young, Ma Ji deliberately created a lot of comical cross-talk at that time, such as "Hundred Blows" and "Special Diseases", so that Zhao Yan's skills could also be revealed.
Wang Qianxiang and Li Zengrui are both apprentices of Ma Ji, they are not as hot as the ones mentioned earlier, but there are also some relatively good works, such as "Old Cattle Herding", "Drama and Song", and "Changing Packaging". On the one hand, of course, he sings, many times like professional singers, on the other hand, he does not just sing, some cross-talk based also has several paragraphs, and his original Xiaolin Radio Station is one of the symbols of that era. Ma Ji's other apprentices also included Han Lancheng, Chang Peiye, Huang Hong, and so on.
We look at many cross-talk actors, often find that the master and apprentice do not match the phenomenon of popularity, but here in Ma Ji, whether it is Hou Baolin of his previous generation, or Jiang Kun and Feng Gong of the later generation, of course, including Ma Ji himself, the three generations of masters and apprentices are all top figures in the cross-talk industry, which is very difficult to do, and is a real famous teacher and disciple.
04
Let's talk about the death of Ma Ji in 2006, which touched the people at that time.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
03
After talking about Ma Ji's achievements, let's talk about his disciples. Ma Ji had many apprentices, known as Ma Jiajun, including Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Wang Qianxiang, Li Zengrui, Xiao Lin and so on.
Among these apprentices, my personal favorite is still Jiang Kun. And Jiang Kun is very similar to Ma Ji, like where? It's that he can write performances. The early "So Photographed", later and Li Wenhua's "Poetry and Love" and "Thinking of Wrong" and so on, this is all written by Jiang Kun, and it is also to seize the pain points and hot spots in society to write. Even with later cooperation with Liang Zuo, Jiang Kun also made a lot of rewrites on the basis of Liang Zuo's original work. His performance on stage, especially in the stage of cooperation with Li Wenhua, Jiang Kun's cleverness on stage is a bit similar to Ma Ji's youth. Only later, Jiang Kun began to engage in leadership work, and the original cross-talk actor Jiang Kun slowly became another Jiang Kun.
The one who likes it again is Liu Wei Feng Gong. Now it is said that Feng Gong and Niu Qun have cooperated for more than ten years in the Spring Festival Gala, in fact, before partnering with The Niu Herd, the younger Feng Gong and Liu Wei have performed a lot of vigorous cross-talk together, including "Spring Girl", "Clap Song" and so on, and there is also the period of "Qiao To the Film Association". Although the two of them were not as hot as when Feng Gong and Niu Herd cooperated later, they were also very attractive, especially for young people. Unfortunately, the two were separated later, and Ma Ji cooperated with his apprentice Liu Wei for many years like protecting giant pandas.
Among These disciples of Ma Ji, if you want to say that the voice is good, it must belong to Zhao Yan. Even if you listen to his twenty or thirty-year-old voice now, it is reasonable to say that he is very young, but his voice also seems to be beautiful and heavy, as if he has learned to broadcast, and there is no broadcast cavity, and it is very harmonious with Ma Ji's voice. Because Zhao Yan was young, Ma Ji deliberately created a lot of comical cross-talk at that time, such as "Hundred Blows" and "Special Diseases", so that Zhao Yan's skills could also be revealed.
Wang Qianxiang and Li Zengrui are both apprentices of Ma Ji, they are not as hot as the ones mentioned earlier, but there are also some relatively good works, such as "Old Cattle Herding", "Drama and Song", and "Changing Packaging". On the one hand, of course, he sings, many times like professional singers, on the other hand, he does not just sing, some cross-talk based also has several paragraphs, and his original Xiaolin Radio Station is one of the symbols of that era. Ma Ji's other apprentices also included Han Lancheng, Chang Peiye, Huang Hong, and so on.
We look at many cross-talk actors, often find that the master and apprentice do not match the phenomenon of popularity, but here in Ma Ji, whether it is Hou Baolin of his previous generation, or Jiang Kun and Feng Gong of the later generation, of course, including Ma Ji himself, the three generations of masters and apprentices are all top figures in the cross-talk industry, which is very difficult to do, and is a real famous teacher and disciple.
04
Let's talk about the death of Ma Ji in 2006, which touched the people at that time.
Fifteen years ago, at 10:00 a.m. on December 20, 2006, Ma Ji died of illness at the age of 72. I remember that day very clearly.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
03
After talking about Ma Ji's achievements, let's talk about his disciples. Ma Ji had many apprentices, known as Ma Jiajun, including Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Wang Qianxiang, Li Zengrui, Xiao Lin and so on.
Among these apprentices, my personal favorite is still Jiang Kun. And Jiang Kun is very similar to Ma Ji, like where? It's that he can write performances. The early "So Photographed", later and Li Wenhua's "Poetry and Love" and "Thinking of Wrong" and so on, this is all written by Jiang Kun, and it is also to seize the pain points and hot spots in society to write. Even with later cooperation with Liang Zuo, Jiang Kun also made a lot of rewrites on the basis of Liang Zuo's original work. His performance on stage, especially in the stage of cooperation with Li Wenhua, Jiang Kun's cleverness on stage is a bit similar to Ma Ji's youth. Only later, Jiang Kun began to engage in leadership work, and the original cross-talk actor Jiang Kun slowly became another Jiang Kun.
The one who likes it again is Liu Wei Feng Gong. Now it is said that Feng Gong and Niu Qun have cooperated for more than ten years in the Spring Festival Gala, in fact, before partnering with The Niu Herd, the younger Feng Gong and Liu Wei have performed a lot of vigorous cross-talk together, including "Spring Girl", "Clap Song" and so on, and there is also the period of "Qiao To the Film Association". Although the two of them were not as hot as when Feng Gong and Niu Herd cooperated later, they were also very attractive, especially for young people. Unfortunately, the two were separated later, and Ma Ji cooperated with his apprentice Liu Wei for many years like protecting giant pandas.
Among These disciples of Ma Ji, if you want to say that the voice is good, it must belong to Zhao Yan. Even if you listen to his twenty or thirty-year-old voice now, it is reasonable to say that he is very young, but his voice also seems to be beautiful and heavy, as if he has learned to broadcast, and there is no broadcast cavity, and it is very harmonious with Ma Ji's voice. Because Zhao Yan was young, Ma Ji deliberately created a lot of comical cross-talk at that time, such as "Hundred Blows" and "Special Diseases", so that Zhao Yan's skills could also be revealed.
Wang Qianxiang and Li Zengrui are both apprentices of Ma Ji, they are not as hot as the ones mentioned earlier, but there are also some relatively good works, such as "Old Cattle Herding", "Drama and Song", and "Changing Packaging". On the one hand, of course, he sings, many times like professional singers, on the other hand, he does not just sing, some cross-talk based also has several paragraphs, and his original Xiaolin Radio Station is one of the symbols of that era. Ma Ji's other apprentices also included Han Lancheng, Chang Peiye, Huang Hong, and so on.
We look at many cross-talk actors, often find that the master and apprentice do not match the phenomenon of popularity, but here in Ma Ji, whether it is Hou Baolin of his previous generation, or Jiang Kun and Feng Gong of the later generation, of course, including Ma Ji himself, the three generations of masters and apprentices are all top figures in the cross-talk industry, which is very difficult to do, and is a real famous teacher and disciple.
04
Let's talk about the death of Ma Ji in 2006, which touched the people at that time.
Fifteen years ago, at 10:00 a.m. on December 20, 2006, Ma Ji died of illness at the age of 72. I remember that day very clearly.
Ma Ji's death was more than 10 a.m., and it should have been in the morning that the news began to be posted on the Internet, just in the conspicuous position on the home page of these portals such as Sina and Sohu. At noon that day, people from the same department of our unit said that they would go out to eat hot pot, and when it came time to eat, most of them were as happy as usual for dinner, but my mood was very low.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
03
After talking about Ma Ji's achievements, let's talk about his disciples. Ma Ji had many apprentices, known as Ma Jiajun, including Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Wang Qianxiang, Li Zengrui, Xiao Lin and so on.
Among these apprentices, my personal favorite is still Jiang Kun. And Jiang Kun is very similar to Ma Ji, like where? It's that he can write performances. The early "So Photographed", later and Li Wenhua's "Poetry and Love" and "Thinking of Wrong" and so on, this is all written by Jiang Kun, and it is also to seize the pain points and hot spots in society to write. Even with later cooperation with Liang Zuo, Jiang Kun also made a lot of rewrites on the basis of Liang Zuo's original work. His performance on stage, especially in the stage of cooperation with Li Wenhua, Jiang Kun's cleverness on stage is a bit similar to Ma Ji's youth. Only later, Jiang Kun began to engage in leadership work, and the original cross-talk actor Jiang Kun slowly became another Jiang Kun.
The one who likes it again is Liu Wei Feng Gong. Now it is said that Feng Gong and Niu Qun have cooperated for more than ten years in the Spring Festival Gala, in fact, before partnering with The Niu Herd, the younger Feng Gong and Liu Wei have performed a lot of vigorous cross-talk together, including "Spring Girl", "Clap Song" and so on, and there is also the period of "Qiao To the Film Association". Although the two of them were not as hot as when Feng Gong and Niu Herd cooperated later, they were also very attractive, especially for young people. Unfortunately, the two were separated later, and Ma Ji cooperated with his apprentice Liu Wei for many years like protecting giant pandas.
Among These disciples of Ma Ji, if you want to say that the voice is good, it must belong to Zhao Yan. Even if you listen to his twenty or thirty-year-old voice now, it is reasonable to say that he is very young, but his voice also seems to be beautiful and heavy, as if he has learned to broadcast, and there is no broadcast cavity, and it is very harmonious with Ma Ji's voice. Because Zhao Yan was young, Ma Ji deliberately created a lot of comical cross-talk at that time, such as "Hundred Blows" and "Special Diseases", so that Zhao Yan's skills could also be revealed.
Wang Qianxiang and Li Zengrui are both apprentices of Ma Ji, they are not as hot as the ones mentioned earlier, but there are also some relatively good works, such as "Old Cattle Herding", "Drama and Song", and "Changing Packaging". On the one hand, of course, he sings, many times like professional singers, on the other hand, he does not just sing, some cross-talk based also has several paragraphs, and his original Xiaolin Radio Station is one of the symbols of that era. Ma Ji's other apprentices also included Han Lancheng, Chang Peiye, Huang Hong, and so on.
We look at many cross-talk actors, often find that the master and apprentice do not match the phenomenon of popularity, but here in Ma Ji, whether it is Hou Baolin of his previous generation, or Jiang Kun and Feng Gong of the later generation, of course, including Ma Ji himself, the three generations of masters and apprentices are all top figures in the cross-talk industry, which is very difficult to do, and is a real famous teacher and disciple.
04
Let's talk about the death of Ma Ji in 2006, which touched the people at that time.
Fifteen years ago, at 10:00 a.m. on December 20, 2006, Ma Ji died of illness at the age of 72. I remember that day very clearly.
Ma Ji's death was more than 10 a.m., and it should have been in the morning that the news began to be posted on the Internet, just in the conspicuous position on the home page of these portals such as Sina and Sohu. At noon that day, people from the same department of our unit said that they would go out to eat hot pot, and when it came time to eat, most of them were as happy as usual for dinner, but my mood was very low.
In particular, I still remember the weather in Beijing that day, it was gloomy, it should be smog, but there was no word at that time, anyway, my mood was not high, much like the bad weather that day. In the afternoon, I almost didn't work well, and I kept reading all kinds of news about Ma Ji's teacher on the Internet.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
03
After talking about Ma Ji's achievements, let's talk about his disciples. Ma Ji had many apprentices, known as Ma Jiajun, including Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Wang Qianxiang, Li Zengrui, Xiao Lin and so on.
Among these apprentices, my personal favorite is still Jiang Kun. And Jiang Kun is very similar to Ma Ji, like where? It's that he can write performances. The early "So Photographed", later and Li Wenhua's "Poetry and Love" and "Thinking of Wrong" and so on, this is all written by Jiang Kun, and it is also to seize the pain points and hot spots in society to write. Even with later cooperation with Liang Zuo, Jiang Kun also made a lot of rewrites on the basis of Liang Zuo's original work. His performance on stage, especially in the stage of cooperation with Li Wenhua, Jiang Kun's cleverness on stage is a bit similar to Ma Ji's youth. Only later, Jiang Kun began to engage in leadership work, and the original cross-talk actor Jiang Kun slowly became another Jiang Kun.
The one who likes it again is Liu Wei Feng Gong. Now it is said that Feng Gong and Niu Qun have cooperated for more than ten years in the Spring Festival Gala, in fact, before partnering with The Niu Herd, the younger Feng Gong and Liu Wei have performed a lot of vigorous cross-talk together, including "Spring Girl", "Clap Song" and so on, and there is also the period of "Qiao To the Film Association". Although the two of them were not as hot as when Feng Gong and Niu Herd cooperated later, they were also very attractive, especially for young people. Unfortunately, the two were separated later, and Ma Ji cooperated with his apprentice Liu Wei for many years like protecting giant pandas.
Among These disciples of Ma Ji, if you want to say that the voice is good, it must belong to Zhao Yan. Even if you listen to his twenty or thirty-year-old voice now, it is reasonable to say that he is very young, but his voice also seems to be beautiful and heavy, as if he has learned to broadcast, and there is no broadcast cavity, and it is very harmonious with Ma Ji's voice. Because Zhao Yan was young, Ma Ji deliberately created a lot of comical cross-talk at that time, such as "Hundred Blows" and "Special Diseases", so that Zhao Yan's skills could also be revealed.
Wang Qianxiang and Li Zengrui are both apprentices of Ma Ji, they are not as hot as the ones mentioned earlier, but there are also some relatively good works, such as "Old Cattle Herding", "Drama and Song", and "Changing Packaging". On the one hand, of course, he sings, many times like professional singers, on the other hand, he does not just sing, some cross-talk based also has several paragraphs, and his original Xiaolin Radio Station is one of the symbols of that era. Ma Ji's other apprentices also included Han Lancheng, Chang Peiye, Huang Hong, and so on.
We look at many cross-talk actors, often find that the master and apprentice do not match the phenomenon of popularity, but here in Ma Ji, whether it is Hou Baolin of his previous generation, or Jiang Kun and Feng Gong of the later generation, of course, including Ma Ji himself, the three generations of masters and apprentices are all top figures in the cross-talk industry, which is very difficult to do, and is a real famous teacher and disciple.
04
Let's talk about the death of Ma Ji in 2006, which touched the people at that time.
Fifteen years ago, at 10:00 a.m. on December 20, 2006, Ma Ji died of illness at the age of 72. I remember that day very clearly.
Ma Ji's death was more than 10 a.m., and it should have been in the morning that the news began to be posted on the Internet, just in the conspicuous position on the home page of these portals such as Sina and Sohu. At noon that day, people from the same department of our unit said that they would go out to eat hot pot, and when it came time to eat, most of them were as happy as usual for dinner, but my mood was very low.
In particular, I still remember the weather in Beijing that day, it was gloomy, it should be smog, but there was no word at that time, anyway, my mood was not high, much like the bad weather that day. In the afternoon, I almost didn't work well, and I kept reading all kinds of news about Ma Ji's teacher on the Internet.
I checked it out, it was Wednesday, and a few days later, on Sunday night, Bai Yansong hosted the show "China Weekly", summarizing what happened in the past week and spending a lot of time talking about Ma Ji. And I still remember one detail he said.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
03
After talking about Ma Ji's achievements, let's talk about his disciples. Ma Ji had many apprentices, known as Ma Jiajun, including Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Wang Qianxiang, Li Zengrui, Xiao Lin and so on.
Among these apprentices, my personal favorite is still Jiang Kun. And Jiang Kun is very similar to Ma Ji, like where? It's that he can write performances. The early "So Photographed", later and Li Wenhua's "Poetry and Love" and "Thinking of Wrong" and so on, this is all written by Jiang Kun, and it is also to seize the pain points and hot spots in society to write. Even with later cooperation with Liang Zuo, Jiang Kun also made a lot of rewrites on the basis of Liang Zuo's original work. His performance on stage, especially in the stage of cooperation with Li Wenhua, Jiang Kun's cleverness on stage is a bit similar to Ma Ji's youth. Only later, Jiang Kun began to engage in leadership work, and the original cross-talk actor Jiang Kun slowly became another Jiang Kun.
The one who likes it again is Liu Wei Feng Gong. Now it is said that Feng Gong and Niu Qun have cooperated for more than ten years in the Spring Festival Gala, in fact, before partnering with The Niu Herd, the younger Feng Gong and Liu Wei have performed a lot of vigorous cross-talk together, including "Spring Girl", "Clap Song" and so on, and there is also the period of "Qiao To the Film Association". Although the two of them were not as hot as when Feng Gong and Niu Herd cooperated later, they were also very attractive, especially for young people. Unfortunately, the two were separated later, and Ma Ji cooperated with his apprentice Liu Wei for many years like protecting giant pandas.
Among These disciples of Ma Ji, if you want to say that the voice is good, it must belong to Zhao Yan. Even if you listen to his twenty or thirty-year-old voice now, it is reasonable to say that he is very young, but his voice also seems to be beautiful and heavy, as if he has learned to broadcast, and there is no broadcast cavity, and it is very harmonious with Ma Ji's voice. Because Zhao Yan was young, Ma Ji deliberately created a lot of comical cross-talk at that time, such as "Hundred Blows" and "Special Diseases", so that Zhao Yan's skills could also be revealed.
Wang Qianxiang and Li Zengrui are both apprentices of Ma Ji, they are not as hot as the ones mentioned earlier, but there are also some relatively good works, such as "Old Cattle Herding", "Drama and Song", and "Changing Packaging". On the one hand, of course, he sings, many times like professional singers, on the other hand, he does not just sing, some cross-talk based also has several paragraphs, and his original Xiaolin Radio Station is one of the symbols of that era. Ma Ji's other apprentices also included Han Lancheng, Chang Peiye, Huang Hong, and so on.
We look at many cross-talk actors, often find that the master and apprentice do not match the phenomenon of popularity, but here in Ma Ji, whether it is Hou Baolin of his previous generation, or Jiang Kun and Feng Gong of the later generation, of course, including Ma Ji himself, the three generations of masters and apprentices are all top figures in the cross-talk industry, which is very difficult to do, and is a real famous teacher and disciple.
04
Let's talk about the death of Ma Ji in 2006, which touched the people at that time.
Fifteen years ago, at 10:00 a.m. on December 20, 2006, Ma Ji died of illness at the age of 72. I remember that day very clearly.
Ma Ji's death was more than 10 a.m., and it should have been in the morning that the news began to be posted on the Internet, just in the conspicuous position on the home page of these portals such as Sina and Sohu. At noon that day, people from the same department of our unit said that they would go out to eat hot pot, and when it came time to eat, most of them were as happy as usual for dinner, but my mood was very low.
In particular, I still remember the weather in Beijing that day, it was gloomy, it should be smog, but there was no word at that time, anyway, my mood was not high, much like the bad weather that day. In the afternoon, I almost didn't work well, and I kept reading all kinds of news about Ma Ji's teacher on the Internet.
I checked it out, it was Wednesday, and a few days later, on Sunday night, Bai Yansong hosted the show "China Weekly", summarizing what happened in the past week and spending a lot of time talking about Ma Ji. And I still remember one detail he said.
He said that it was the day of Ma Ji's death, he and his family went to the hotel for dinner at night, and Bai Yansong held the Beijing Evening News of the day or something, which prominently published the news about Ma Ji's death. Bai Yansong's mother was present that day, Bai Yansong didn't say anything, so she gave the newspaper page to his mother, her mother didn't know that this happened before that, as soon as she saw it, she stared at the newspaper and began to read, and she didn't speak for half a day, and she didn't eat much. Therefore, Bai Yansong lamented in the show what the departure of Ma Ji, a cross-talk actor, means to the Chinese people.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
03
After talking about Ma Ji's achievements, let's talk about his disciples. Ma Ji had many apprentices, known as Ma Jiajun, including Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Wang Qianxiang, Li Zengrui, Xiao Lin and so on.
Among these apprentices, my personal favorite is still Jiang Kun. And Jiang Kun is very similar to Ma Ji, like where? It's that he can write performances. The early "So Photographed", later and Li Wenhua's "Poetry and Love" and "Thinking of Wrong" and so on, this is all written by Jiang Kun, and it is also to seize the pain points and hot spots in society to write. Even with later cooperation with Liang Zuo, Jiang Kun also made a lot of rewrites on the basis of Liang Zuo's original work. His performance on stage, especially in the stage of cooperation with Li Wenhua, Jiang Kun's cleverness on stage is a bit similar to Ma Ji's youth. Only later, Jiang Kun began to engage in leadership work, and the original cross-talk actor Jiang Kun slowly became another Jiang Kun.
The one who likes it again is Liu Wei Feng Gong. Now it is said that Feng Gong and Niu Qun have cooperated for more than ten years in the Spring Festival Gala, in fact, before partnering with The Niu Herd, the younger Feng Gong and Liu Wei have performed a lot of vigorous cross-talk together, including "Spring Girl", "Clap Song" and so on, and there is also the period of "Qiao To the Film Association". Although the two of them were not as hot as when Feng Gong and Niu Herd cooperated later, they were also very attractive, especially for young people. Unfortunately, the two were separated later, and Ma Ji cooperated with his apprentice Liu Wei for many years like protecting giant pandas.
Among These disciples of Ma Ji, if you want to say that the voice is good, it must belong to Zhao Yan. Even if you listen to his twenty or thirty-year-old voice now, it is reasonable to say that he is very young, but his voice also seems to be beautiful and heavy, as if he has learned to broadcast, and there is no broadcast cavity, and it is very harmonious with Ma Ji's voice. Because Zhao Yan was young, Ma Ji deliberately created a lot of comical cross-talk at that time, such as "Hundred Blows" and "Special Diseases", so that Zhao Yan's skills could also be revealed.
Wang Qianxiang and Li Zengrui are both apprentices of Ma Ji, they are not as hot as the ones mentioned earlier, but there are also some relatively good works, such as "Old Cattle Herding", "Drama and Song", and "Changing Packaging". On the one hand, of course, he sings, many times like professional singers, on the other hand, he does not just sing, some cross-talk based also has several paragraphs, and his original Xiaolin Radio Station is one of the symbols of that era. Ma Ji's other apprentices also included Han Lancheng, Chang Peiye, Huang Hong, and so on.
We look at many cross-talk actors, often find that the master and apprentice do not match the phenomenon of popularity, but here in Ma Ji, whether it is Hou Baolin of his previous generation, or Jiang Kun and Feng Gong of the later generation, of course, including Ma Ji himself, the three generations of masters and apprentices are all top figures in the cross-talk industry, which is very difficult to do, and is a real famous teacher and disciple.
04
Let's talk about the death of Ma Ji in 2006, which touched the people at that time.
Fifteen years ago, at 10:00 a.m. on December 20, 2006, Ma Ji died of illness at the age of 72. I remember that day very clearly.
Ma Ji's death was more than 10 a.m., and it should have been in the morning that the news began to be posted on the Internet, just in the conspicuous position on the home page of these portals such as Sina and Sohu. At noon that day, people from the same department of our unit said that they would go out to eat hot pot, and when it came time to eat, most of them were as happy as usual for dinner, but my mood was very low.
In particular, I still remember the weather in Beijing that day, it was gloomy, it should be smog, but there was no word at that time, anyway, my mood was not high, much like the bad weather that day. In the afternoon, I almost didn't work well, and I kept reading all kinds of news about Ma Ji's teacher on the Internet.
I checked it out, it was Wednesday, and a few days later, on Sunday night, Bai Yansong hosted the show "China Weekly", summarizing what happened in the past week and spending a lot of time talking about Ma Ji. And I still remember one detail he said.
He said that it was the day of Ma Ji's death, he and his family went to the hotel for dinner at night, and Bai Yansong held the Beijing Evening News of the day or something, which prominently published the news about Ma Ji's death. Bai Yansong's mother was present that day, Bai Yansong didn't say anything, so she gave the newspaper page to his mother, her mother didn't know that this happened before that, as soon as she saw it, she stared at the newspaper and began to read, and she didn't speak for half a day, and she didn't eat much. Therefore, Bai Yansong lamented in the show what the departure of Ma Ji, a cross-talk actor, means to the Chinese people.
From this, I remembered what the cross-talk actor Song Dequan said. When Ma Ji's memorial service was held, he and many cross-talk actors were on the scene, and he had never seen the formation of bidding farewell to Ma Ji, and even the staff of Babaoshan said that it was very rare.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
03
After talking about Ma Ji's achievements, let's talk about his disciples. Ma Ji had many apprentices, known as Ma Jiajun, including Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Wang Qianxiang, Li Zengrui, Xiao Lin and so on.
Among these apprentices, my personal favorite is still Jiang Kun. And Jiang Kun is very similar to Ma Ji, like where? It's that he can write performances. The early "So Photographed", later and Li Wenhua's "Poetry and Love" and "Thinking of Wrong" and so on, this is all written by Jiang Kun, and it is also to seize the pain points and hot spots in society to write. Even with later cooperation with Liang Zuo, Jiang Kun also made a lot of rewrites on the basis of Liang Zuo's original work. His performance on stage, especially in the stage of cooperation with Li Wenhua, Jiang Kun's cleverness on stage is a bit similar to Ma Ji's youth. Only later, Jiang Kun began to engage in leadership work, and the original cross-talk actor Jiang Kun slowly became another Jiang Kun.
The one who likes it again is Liu Wei Feng Gong. Now it is said that Feng Gong and Niu Qun have cooperated for more than ten years in the Spring Festival Gala, in fact, before partnering with The Niu Herd, the younger Feng Gong and Liu Wei have performed a lot of vigorous cross-talk together, including "Spring Girl", "Clap Song" and so on, and there is also the period of "Qiao To the Film Association". Although the two of them were not as hot as when Feng Gong and Niu Herd cooperated later, they were also very attractive, especially for young people. Unfortunately, the two were separated later, and Ma Ji cooperated with his apprentice Liu Wei for many years like protecting giant pandas.
Among These disciples of Ma Ji, if you want to say that the voice is good, it must belong to Zhao Yan. Even if you listen to his twenty or thirty-year-old voice now, it is reasonable to say that he is very young, but his voice also seems to be beautiful and heavy, as if he has learned to broadcast, and there is no broadcast cavity, and it is very harmonious with Ma Ji's voice. Because Zhao Yan was young, Ma Ji deliberately created a lot of comical cross-talk at that time, such as "Hundred Blows" and "Special Diseases", so that Zhao Yan's skills could also be revealed.
Wang Qianxiang and Li Zengrui are both apprentices of Ma Ji, they are not as hot as the ones mentioned earlier, but there are also some relatively good works, such as "Old Cattle Herding", "Drama and Song", and "Changing Packaging". On the one hand, of course, he sings, many times like professional singers, on the other hand, he does not just sing, some cross-talk based also has several paragraphs, and his original Xiaolin Radio Station is one of the symbols of that era. Ma Ji's other apprentices also included Han Lancheng, Chang Peiye, Huang Hong, and so on.
We look at many cross-talk actors, often find that the master and apprentice do not match the phenomenon of popularity, but here in Ma Ji, whether it is Hou Baolin of his previous generation, or Jiang Kun and Feng Gong of the later generation, of course, including Ma Ji himself, the three generations of masters and apprentices are all top figures in the cross-talk industry, which is very difficult to do, and is a real famous teacher and disciple.
04
Let's talk about the death of Ma Ji in 2006, which touched the people at that time.
Fifteen years ago, at 10:00 a.m. on December 20, 2006, Ma Ji died of illness at the age of 72. I remember that day very clearly.
Ma Ji's death was more than 10 a.m., and it should have been in the morning that the news began to be posted on the Internet, just in the conspicuous position on the home page of these portals such as Sina and Sohu. At noon that day, people from the same department of our unit said that they would go out to eat hot pot, and when it came time to eat, most of them were as happy as usual for dinner, but my mood was very low.
In particular, I still remember the weather in Beijing that day, it was gloomy, it should be smog, but there was no word at that time, anyway, my mood was not high, much like the bad weather that day. In the afternoon, I almost didn't work well, and I kept reading all kinds of news about Ma Ji's teacher on the Internet.
I checked it out, it was Wednesday, and a few days later, on Sunday night, Bai Yansong hosted the show "China Weekly", summarizing what happened in the past week and spending a lot of time talking about Ma Ji. And I still remember one detail he said.
He said that it was the day of Ma Ji's death, he and his family went to the hotel for dinner at night, and Bai Yansong held the Beijing Evening News of the day or something, which prominently published the news about Ma Ji's death. Bai Yansong's mother was present that day, Bai Yansong didn't say anything, so she gave the newspaper page to his mother, her mother didn't know that this happened before that, as soon as she saw it, she stared at the newspaper and began to read, and she didn't speak for half a day, and she didn't eat much. Therefore, Bai Yansong lamented in the show what the departure of Ma Ji, a cross-talk actor, means to the Chinese people.
From this, I remembered what the cross-talk actor Song Dequan said. When Ma Ji's memorial service was held, he and many cross-talk actors were on the scene, and he had never seen the formation of bidding farewell to Ma Ji, and even the staff of Babaoshan said that it was very rare.
Teacher Song Dequan listened to the staff there and said that in the decades after the founding of the People's Republic of China, the memorial service of two people in Babaoshan alarmed the entire Chang'an Avenue, one was Premier Zhou, and the other was Ma Ji. He said that day, not only was the crowds in Babaoshan crowded, but there was congestion of passengers at the Babaoshan subway station, which alarmed the leaders of Beijing at that time. Teacher Song Dequan said that he was present that day, it was really a sea of people, no one organized these ordinary people, they all came spontaneously. He said that cross-talk actors were treated in this way, more than Ma Ji's teacher did not.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
03
After talking about Ma Ji's achievements, let's talk about his disciples. Ma Ji had many apprentices, known as Ma Jiajun, including Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Wang Qianxiang, Li Zengrui, Xiao Lin and so on.
Among these apprentices, my personal favorite is still Jiang Kun. And Jiang Kun is very similar to Ma Ji, like where? It's that he can write performances. The early "So Photographed", later and Li Wenhua's "Poetry and Love" and "Thinking of Wrong" and so on, this is all written by Jiang Kun, and it is also to seize the pain points and hot spots in society to write. Even with later cooperation with Liang Zuo, Jiang Kun also made a lot of rewrites on the basis of Liang Zuo's original work. His performance on stage, especially in the stage of cooperation with Li Wenhua, Jiang Kun's cleverness on stage is a bit similar to Ma Ji's youth. Only later, Jiang Kun began to engage in leadership work, and the original cross-talk actor Jiang Kun slowly became another Jiang Kun.
The one who likes it again is Liu Wei Feng Gong. Now it is said that Feng Gong and Niu Qun have cooperated for more than ten years in the Spring Festival Gala, in fact, before partnering with The Niu Herd, the younger Feng Gong and Liu Wei have performed a lot of vigorous cross-talk together, including "Spring Girl", "Clap Song" and so on, and there is also the period of "Qiao To the Film Association". Although the two of them were not as hot as when Feng Gong and Niu Herd cooperated later, they were also very attractive, especially for young people. Unfortunately, the two were separated later, and Ma Ji cooperated with his apprentice Liu Wei for many years like protecting giant pandas.
Among These disciples of Ma Ji, if you want to say that the voice is good, it must belong to Zhao Yan. Even if you listen to his twenty or thirty-year-old voice now, it is reasonable to say that he is very young, but his voice also seems to be beautiful and heavy, as if he has learned to broadcast, and there is no broadcast cavity, and it is very harmonious with Ma Ji's voice. Because Zhao Yan was young, Ma Ji deliberately created a lot of comical cross-talk at that time, such as "Hundred Blows" and "Special Diseases", so that Zhao Yan's skills could also be revealed.
Wang Qianxiang and Li Zengrui are both apprentices of Ma Ji, they are not as hot as the ones mentioned earlier, but there are also some relatively good works, such as "Old Cattle Herding", "Drama and Song", and "Changing Packaging". On the one hand, of course, he sings, many times like professional singers, on the other hand, he does not just sing, some cross-talk based also has several paragraphs, and his original Xiaolin Radio Station is one of the symbols of that era. Ma Ji's other apprentices also included Han Lancheng, Chang Peiye, Huang Hong, and so on.
We look at many cross-talk actors, often find that the master and apprentice do not match the phenomenon of popularity, but here in Ma Ji, whether it is Hou Baolin of his previous generation, or Jiang Kun and Feng Gong of the later generation, of course, including Ma Ji himself, the three generations of masters and apprentices are all top figures in the cross-talk industry, which is very difficult to do, and is a real famous teacher and disciple.
04
Let's talk about the death of Ma Ji in 2006, which touched the people at that time.
Fifteen years ago, at 10:00 a.m. on December 20, 2006, Ma Ji died of illness at the age of 72. I remember that day very clearly.
Ma Ji's death was more than 10 a.m., and it should have been in the morning that the news began to be posted on the Internet, just in the conspicuous position on the home page of these portals such as Sina and Sohu. At noon that day, people from the same department of our unit said that they would go out to eat hot pot, and when it came time to eat, most of them were as happy as usual for dinner, but my mood was very low.
In particular, I still remember the weather in Beijing that day, it was gloomy, it should be smog, but there was no word at that time, anyway, my mood was not high, much like the bad weather that day. In the afternoon, I almost didn't work well, and I kept reading all kinds of news about Ma Ji's teacher on the Internet.
I checked it out, it was Wednesday, and a few days later, on Sunday night, Bai Yansong hosted the show "China Weekly", summarizing what happened in the past week and spending a lot of time talking about Ma Ji. And I still remember one detail he said.
He said that it was the day of Ma Ji's death, he and his family went to the hotel for dinner at night, and Bai Yansong held the Beijing Evening News of the day or something, which prominently published the news about Ma Ji's death. Bai Yansong's mother was present that day, Bai Yansong didn't say anything, so she gave the newspaper page to his mother, her mother didn't know that this happened before that, as soon as she saw it, she stared at the newspaper and began to read, and she didn't speak for half a day, and she didn't eat much. Therefore, Bai Yansong lamented in the show what the departure of Ma Ji, a cross-talk actor, means to the Chinese people.
From this, I remembered what the cross-talk actor Song Dequan said. When Ma Ji's memorial service was held, he and many cross-talk actors were on the scene, and he had never seen the formation of bidding farewell to Ma Ji, and even the staff of Babaoshan said that it was very rare.
Teacher Song Dequan listened to the staff there and said that in the decades after the founding of the People's Republic of China, the memorial service of two people in Babaoshan alarmed the entire Chang'an Avenue, one was Premier Zhou, and the other was Ma Ji. He said that day, not only was the crowds in Babaoshan crowded, but there was congestion of passengers at the Babaoshan subway station, which alarmed the leaders of Beijing at that time. Teacher Song Dequan said that he was present that day, it was really a sea of people, no one organized these ordinary people, they all came spontaneously. He said that cross-talk actors were treated in this way, more than Ma Ji's teacher did not.
05
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
03
After talking about Ma Ji's achievements, let's talk about his disciples. Ma Ji had many apprentices, known as Ma Jiajun, including Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Wang Qianxiang, Li Zengrui, Xiao Lin and so on.
Among these apprentices, my personal favorite is still Jiang Kun. And Jiang Kun is very similar to Ma Ji, like where? It's that he can write performances. The early "So Photographed", later and Li Wenhua's "Poetry and Love" and "Thinking of Wrong" and so on, this is all written by Jiang Kun, and it is also to seize the pain points and hot spots in society to write. Even with later cooperation with Liang Zuo, Jiang Kun also made a lot of rewrites on the basis of Liang Zuo's original work. His performance on stage, especially in the stage of cooperation with Li Wenhua, Jiang Kun's cleverness on stage is a bit similar to Ma Ji's youth. Only later, Jiang Kun began to engage in leadership work, and the original cross-talk actor Jiang Kun slowly became another Jiang Kun.
The one who likes it again is Liu Wei Feng Gong. Now it is said that Feng Gong and Niu Qun have cooperated for more than ten years in the Spring Festival Gala, in fact, before partnering with The Niu Herd, the younger Feng Gong and Liu Wei have performed a lot of vigorous cross-talk together, including "Spring Girl", "Clap Song" and so on, and there is also the period of "Qiao To the Film Association". Although the two of them were not as hot as when Feng Gong and Niu Herd cooperated later, they were also very attractive, especially for young people. Unfortunately, the two were separated later, and Ma Ji cooperated with his apprentice Liu Wei for many years like protecting giant pandas.
Among These disciples of Ma Ji, if you want to say that the voice is good, it must belong to Zhao Yan. Even if you listen to his twenty or thirty-year-old voice now, it is reasonable to say that he is very young, but his voice also seems to be beautiful and heavy, as if he has learned to broadcast, and there is no broadcast cavity, and it is very harmonious with Ma Ji's voice. Because Zhao Yan was young, Ma Ji deliberately created a lot of comical cross-talk at that time, such as "Hundred Blows" and "Special Diseases", so that Zhao Yan's skills could also be revealed.
Wang Qianxiang and Li Zengrui are both apprentices of Ma Ji, they are not as hot as the ones mentioned earlier, but there are also some relatively good works, such as "Old Cattle Herding", "Drama and Song", and "Changing Packaging". On the one hand, of course, he sings, many times like professional singers, on the other hand, he does not just sing, some cross-talk based also has several paragraphs, and his original Xiaolin Radio Station is one of the symbols of that era. Ma Ji's other apprentices also included Han Lancheng, Chang Peiye, Huang Hong, and so on.
We look at many cross-talk actors, often find that the master and apprentice do not match the phenomenon of popularity, but here in Ma Ji, whether it is Hou Baolin of his previous generation, or Jiang Kun and Feng Gong of the later generation, of course, including Ma Ji himself, the three generations of masters and apprentices are all top figures in the cross-talk industry, which is very difficult to do, and is a real famous teacher and disciple.
04
Let's talk about the death of Ma Ji in 2006, which touched the people at that time.
Fifteen years ago, at 10:00 a.m. on December 20, 2006, Ma Ji died of illness at the age of 72. I remember that day very clearly.
Ma Ji's death was more than 10 a.m., and it should have been in the morning that the news began to be posted on the Internet, just in the conspicuous position on the home page of these portals such as Sina and Sohu. At noon that day, people from the same department of our unit said that they would go out to eat hot pot, and when it came time to eat, most of them were as happy as usual for dinner, but my mood was very low.
In particular, I still remember the weather in Beijing that day, it was gloomy, it should be smog, but there was no word at that time, anyway, my mood was not high, much like the bad weather that day. In the afternoon, I almost didn't work well, and I kept reading all kinds of news about Ma Ji's teacher on the Internet.
I checked it out, it was Wednesday, and a few days later, on Sunday night, Bai Yansong hosted the show "China Weekly", summarizing what happened in the past week and spending a lot of time talking about Ma Ji. And I still remember one detail he said.
He said that it was the day of Ma Ji's death, he and his family went to the hotel for dinner at night, and Bai Yansong held the Beijing Evening News of the day or something, which prominently published the news about Ma Ji's death. Bai Yansong's mother was present that day, Bai Yansong didn't say anything, so she gave the newspaper page to his mother, her mother didn't know that this happened before that, as soon as she saw it, she stared at the newspaper and began to read, and she didn't speak for half a day, and she didn't eat much. Therefore, Bai Yansong lamented in the show what the departure of Ma Ji, a cross-talk actor, means to the Chinese people.
From this, I remembered what the cross-talk actor Song Dequan said. When Ma Ji's memorial service was held, he and many cross-talk actors were on the scene, and he had never seen the formation of bidding farewell to Ma Ji, and even the staff of Babaoshan said that it was very rare.
Teacher Song Dequan listened to the staff there and said that in the decades after the founding of the People's Republic of China, the memorial service of two people in Babaoshan alarmed the entire Chang'an Avenue, one was Premier Zhou, and the other was Ma Ji. He said that day, not only was the crowds in Babaoshan crowded, but there was congestion of passengers at the Babaoshan subway station, which alarmed the leaders of Beijing at that time. Teacher Song Dequan said that he was present that day, it was really a sea of people, no one organized these ordinary people, they all came spontaneously. He said that cross-talk actors were treated in this way, more than Ma Ji's teacher did not.
05
Okay, so I'll write about it here.
Today, December 20, marks the 15th anniversary of the death of cross-talk master Ma Ji. Ma Ji began performing crosstalk in the 1959s until his death in 2006, and it can be said that he made every era laugh.
So, what is special about Ma Ji's creation and performance compared to other cross-talk actors? Why did he achieve so much artistic achievement?
01
First of all, from the perspective of creation, Ma Ji wrote cross-talk both a lot and a good writing. Some cross-talk actors are cross-talk actors, not very creators, and some of them, although they also act well, are not masters of creating cross-talk. Ma Ji once said that cross-talk actors must be able to cook their own food, that is, they must be able to create, so that you can go long.
In terms of creation, Ma Ji first of all has unique conditions, under the careful guidance of so many teachers of Hou Baolin and Liu Baorui, the earliest to absorb nutrition from traditional crosstalk, but in that era, traditional crosstalk can not be performed too much, the work must reflect the new era, which is not good at singing xiangsheng is originally unfavorable conditions, Ma Ji can innovate, borrow traditional techniques to write a new crosstalk, not only give people encouragement but also make people laugh out, very unusual.
In the new era of the 1970s and 1980s, he was able to seize the opportunity to make bold satires on the endless undesirable social phenomena, and caught up with the media conversion from radio to television, leading his apprentices to create a new stage of cross-talk ZTE.
In terms of acting, let's talk about the four homework of cross-talk actors, saying and singing, in fact, there are more outstanding contemporaries than Ma Ji, but Ma Ji can always use these four lessons very freely in his performance. He does not simply compete with his mouth, in this regard he is not as good as Li Boxiang, he does not go to imitate opera and songs, in this regard he is certainly not as good as master Hou Baolin, even his apprentice Xiaolin sings more standardly than him, but he performs those cross-talk to attract people's likes, especially in the seventies and eighties, on the stage to raise their hands and feet can make people happy. And in the era of television, he strengthened the part of cross-talk performance, so that cross-talk exudes greater charm.
02
Let's talk about why Ma Ji was able to succeed, in addition to the creative and performing skills mentioned above, what else did he rely on? That's the era.
From the 1970s and 1980s until his death in 2006, Ma Ji was a leader in the cross-talk industry, even if he was not a leader in earlier times. In particular, in 1973, he and Tang Jiezhonghe said the cross-talk "Ode to Friendship", which now sounds too ideological and does not have any hard baggage, but if there is no such work, when cross-talk will be revived and to what extent, it is unknown.
Therefore, Ma Ji's success, of course, is mainly his own talent and efforts, followed by the cultivation of masters such as Hou Baolin and Liu Baorui, and the opportunity brought by the times he seized, whether it is the "Ode to Friendship" or the previous praise type of cross-talk. The most valuable point of most of Ma Ji's cross-talk is that it is synchronized with the times and has always been in line with reality, not a pure cross-talk technique behind closed doors. It can be said that it is the times that choose Ma Ji, and Ma Ji is also worthy of the various eras he has experienced.
03
After talking about Ma Ji's achievements, let's talk about his disciples. Ma Ji had many apprentices, known as Ma Jiajun, including Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Wang Qianxiang, Li Zengrui, Xiao Lin and so on.
Among these apprentices, my personal favorite is still Jiang Kun. And Jiang Kun is very similar to Ma Ji, like where? It's that he can write performances. The early "So Photographed", later and Li Wenhua's "Poetry and Love" and "Thinking of Wrong" and so on, this is all written by Jiang Kun, and it is also to seize the pain points and hot spots in society to write. Even with later cooperation with Liang Zuo, Jiang Kun also made a lot of rewrites on the basis of Liang Zuo's original work. His performance on stage, especially in the stage of cooperation with Li Wenhua, Jiang Kun's cleverness on stage is a bit similar to Ma Ji's youth. Only later, Jiang Kun began to engage in leadership work, and the original cross-talk actor Jiang Kun slowly became another Jiang Kun.
The one who likes it again is Liu Wei Feng Gong. Now it is said that Feng Gong and Niu Qun have cooperated for more than ten years in the Spring Festival Gala, in fact, before partnering with The Niu Herd, the younger Feng Gong and Liu Wei have performed a lot of vigorous cross-talk together, including "Spring Girl", "Clap Song" and so on, and there is also the period of "Qiao To the Film Association". Although the two of them were not as hot as when Feng Gong and Niu Herd cooperated later, they were also very attractive, especially for young people. Unfortunately, the two were separated later, and Ma Ji cooperated with his apprentice Liu Wei for many years like protecting giant pandas.
Among These disciples of Ma Ji, if you want to say that the voice is good, it must belong to Zhao Yan. Even if you listen to his twenty or thirty-year-old voice now, it is reasonable to say that he is very young, but his voice also seems to be beautiful and heavy, as if he has learned to broadcast, and there is no broadcast cavity, and it is very harmonious with Ma Ji's voice. Because Zhao Yan was young, Ma Ji deliberately created a lot of comical cross-talk at that time, such as "Hundred Blows" and "Special Diseases", so that Zhao Yan's skills could also be revealed.
Wang Qianxiang and Li Zengrui are both apprentices of Ma Ji, they are not as hot as the ones mentioned earlier, but there are also some relatively good works, such as "Old Cattle Herding", "Drama and Song", and "Changing Packaging". On the one hand, of course, he sings, many times like professional singers, on the other hand, he does not just sing, some cross-talk based also has several paragraphs, and his original Xiaolin Radio Station is one of the symbols of that era. Ma Ji's other apprentices also included Han Lancheng, Chang Peiye, Huang Hong, and so on.
We look at many cross-talk actors, often find that the master and apprentice do not match the phenomenon of popularity, but here in Ma Ji, whether it is Hou Baolin of his previous generation, or Jiang Kun and Feng Gong of the later generation, of course, including Ma Ji himself, the three generations of masters and apprentices are all top figures in the cross-talk industry, which is very difficult to do, and is a real famous teacher and disciple.
04
Let's talk about the death of Ma Ji in 2006, which touched the people at that time.
Fifteen years ago, at 10:00 a.m. on December 20, 2006, Ma Ji died of illness at the age of 72. I remember that day very clearly.
Ma Ji's death was more than 10 a.m., and it should have been in the morning that the news began to be posted on the Internet, just in the conspicuous position on the home page of these portals such as Sina and Sohu. At noon that day, people from the same department of our unit said that they would go out to eat hot pot, and when it came time to eat, most of them were as happy as usual for dinner, but my mood was very low.
In particular, I still remember the weather in Beijing that day, it was gloomy, it should be smog, but there was no word at that time, anyway, my mood was not high, much like the bad weather that day. In the afternoon, I almost didn't work well, and I kept reading all kinds of news about Ma Ji's teacher on the Internet.
I checked it out, it was Wednesday, and a few days later, on Sunday night, Bai Yansong hosted the show "China Weekly", summarizing what happened in the past week and spending a lot of time talking about Ma Ji. And I still remember one detail he said.
He said that it was the day of Ma Ji's death, he and his family went to the hotel for dinner at night, and Bai Yansong held the Beijing Evening News of the day or something, which prominently published the news about Ma Ji's death. Bai Yansong's mother was present that day, Bai Yansong didn't say anything, so she gave the newspaper page to his mother, her mother didn't know that this happened before that, as soon as she saw it, she stared at the newspaper and began to read, and she didn't speak for half a day, and she didn't eat much. Therefore, Bai Yansong lamented in the show what the departure of Ma Ji, a cross-talk actor, means to the Chinese people.
From this, I remembered what the cross-talk actor Song Dequan said. When Ma Ji's memorial service was held, he and many cross-talk actors were on the scene, and he had never seen the formation of bidding farewell to Ma Ji, and even the staff of Babaoshan said that it was very rare.
Teacher Song Dequan listened to the staff there and said that in the decades after the founding of the People's Republic of China, the memorial service of two people in Babaoshan alarmed the entire Chang'an Avenue, one was Premier Zhou, and the other was Ma Ji. He said that day, not only was the crowds in Babaoshan crowded, but there was congestion of passengers at the Babaoshan subway station, which alarmed the leaders of Beijing at that time. Teacher Song Dequan said that he was present that day, it was really a sea of people, no one organized these ordinary people, they all came spontaneously. He said that cross-talk actors were treated in this way, more than Ma Ji's teacher did not.
05
Okay, so I'll write about it here.
What influence did Mr. Ma Ji's cross-talk have on you? What is your favorite piece of his work?