In the impression of many viewers, Ma Zhiming is a typical senior in the cross-talk industry. This is also true, for example, Hou Baolin and Liu Baorui, who are also of the Baozi generation, are only two or three years younger than Ma Sanye in terms of age. But this is the rule in the cross-talk door, do not look at the age to see the generations. Perhaps it is precisely because of the natural generation that young Master Ma dare not easily accept apprentices for a lifetime.
Some people say that Huang Shimin is his only apprentice, and some people say that he is the only apprentice he recognizes, both of which are inaccurate. But if you really want to say that you can afford to be a "beloved disciple", the Huang people should not let it go. By this year, the two had been working together for 33 years. Among the previous partners of Shaoma, he undoubtedly cooperated for the longest time. For more than 30 years, the Stage Run-in has made Huang Zumin, who was originally just a lover of music and art, experienced to become a famous artist in the country today.
Objectively speaking, his artistic achievements are mainly derived from the efforts of the day after tomorrow, rather than talent. This is also why in the eyes of many insider audiences, even if he has cooperated with his master for more than thirty years, the artistic spark that collides is still inferior to Xie Tianshun, who has only a few years of cooperation experience. In the end, in the praise, where is the Huang people worse than Xie Tianshun?
You may think that the Huang people belong to the ticket friends to go to the sea, and the artistic time is short. And Xie Tianshun is a baby's leg, who has been influenced by the atmosphere of music since childhood, and there is also a great master like Guo Rongqi who has been taught by the heart, in fact, these are not the main points. If there is a gap, it is mainly manifested in the style of praise and talent.
Among the few disciples of Shaoma, Huang Zumin was the only disciple who was actually taught. It is reasonable to say that his praise style should be "customized" according to the artistic characteristics of shaoma. Indeed, the one-handed cultivation of the partner, for Ma Zhiming, can be described as handy on the stage. From the audience's point of view, the duo's partnership does highlight the artistic characteristics of the comic actors, and although Huang Zumin has played the role of setting off the clouds and the moon, he has never been able to play the role of "palm" and "quantity" that praise should be. Compared with the cooperation with the master, when giving the master Ma Jingbo a praise, he can see the shining point of the Huang people more.
In contrast, the cooperation of "Ma Xie File" in that year was a chess match for opponents and would meet good talents. It's not that both of them are the children of the family, and there is a generation in the cross-talk door. Xie Tianshun has a deep understanding of Ma's cross-talk and knows what size to live. Some people think that Xie Tianshun belongs to the so-called "offensive" praise, but they do not see his untraceable pushing boat and just the right pad bricks to hand over the legs in the performance. To put it simply, his "top planing and bumping covers, kicking and selling" on the stage are all in accordance with the performance needs of the paragraph, neither deliberately showing off himself, nor blindly pandering to his partner.
As for the talent perception, the gap between Huang Zumin and Xie Tianshun is more concrete. The understanding and language talent of crosstalk may not really be taught seriously. To give two examples, "The Dispute" is Ma Zhiming's most representative creation and compilation of cross-talk, xie Tianshun and Huang Zumin have both praised this section. You may wish to recall that this comic actor said that in the police station, Ding Wenyuan and Wang Decheng proposed, "Or should we be private?" Xie Tianshun immediately answered, "The two of them ran to the police station privately!" And when Huang Zumin praised it, when he said this, his reaction was "Private? "In fact, there is no need to evaluate too much about the advantages and disadvantages of the two, and the judgment has long been made in front of the old audience."
Let's look at the Ma family's lever work, the traditional cross-talk "Article Meeting". The two generations of Ma's father and son have vividly interpreted this traditional work. It just so happened that Xie Tianshun and the Huang people had also given Shao Ma Ye this piece of work. To give another small example, he said teasingly, "Our name is Renhe, Renhe Rotary Middle School, and the treasurer's surname is Liu, Liu Siye." Huang: "Oh, (laughs) I know, the plaque at your door is called Renhe, and the treasurer is Liu Siye?" Ma: "You know that too?" Huang: "Go! Or pull the cart. And Xie Tianshun said, "Is it Fourth Master Liu who is in charge?" After that, he added a sentence : "He has a girlfriend named Tiger Girl, and your classmates have a girl named Shoko..."..." Ma: "He's a year older than me." These two sentences not only add a small burden to the entire paragraph, but also highlight the mentality of "seeing through and not saying broken". While enriching the characters created by the praise, it also reflects the comical flaws and is difficult to justify the image. Similar differences in detail handling are also reflected differently in paragraphs such as "Selling Five Instruments" and "Eating The Fruit of Self".
Even so, his cooperation with master can still be called a success. Looking at the level of Huang Zumin's praise alone, it is also quite outstanding among the cross-talk artists of the same generation. It's just that in the eyes of the audience, there will always be a difference between "fit" and "more fit". Just like Wang Fengshan gave Ma Sanli a good performance in his later years, but more viewers still favored Zhang Qingsen and Zhao Peiru, the two predecessors of the duo.