<h1 class= "pgc-h-arrow-right" > "Socialism is Good" - Xiao Liben, Yang Haiquan</h1>
"Socialism is Good" is the first section of praise-type cross-talk in New China, performed by Xiao Liben and Yang Haiquan, and it is after this cross-talk that the praise-type cross-talk has become the key creative type of cross-talk actors in the country. Before this, the praise type cross-talk was all praised by the state government, such as a series of anti-Japanese cross-talk created by Mr. Lao She, because the object of praise was not appropriate, so it was not included in the new Chinese song and praise cross-talk for discussion.
Xiao Liben is also a legend in the cross-talk industry, although he is a dwarf, he is still in his thirties with the same shape as a child, and his voice is the same as that of a non-collapsed warehouse, and even Premier Zhou does not believe that he is an adult. But as a cross-talk actor, this is actually an advantage, so that Xiao Liben has an excellent audience popularity, even Kang Keqing almost accepted him as a son, which is probably the most heavyweight dry kiss in the history of cross-talk actors.
Xiao Liben not only sings the praise type of cross-talk, but also has a very deep traditional foundation, and Wei Wenliang's "Learning to Comment on Drama" was taught by Xiao Liben himself.
Yang Haiquan, who is praised, is also a representative figure of the northeast cross-talk circle, not only his own skills are superb, but also taught many famous disciples, such as Yang Zhenhua, the people's spokesman, and Wang Zhitao, Zheng Hao's mentor.
<h1 class= "pgc-h-arrow-right" > "No Divorce" – Zhao Peiru, Li Shouzeng</h1>
"No Divorce" is probably the first cross-talk with the theme of "feminism" in New China, which is also the earliest work in the existing cross-talk audio, and the word "feminism" appears.
The theme of "No Divorce" is to praise the great improvement of women's social status in the new society, Zhao Peiru plays an old feudal who is holding on to the defects, facing his sister who advocates freedom of marriage, his sister-in-law remarries and fights for his property rights, and finally even his daughter-in-law bought by his mother with usurious loans must divorce himself.
After the advent of this work, it caused a huge sensation in Beijing and Tianjin, and many famous cross-talk artists such as Gao Deming Tian Lihe performed, but the effect was not as good as Zhao Peiru. Because the role of teasing needs to have an old tone, but also to pretend to be stubborn and refuse to accept new ideas, and finally there are three crying scenes, these complex skill requirements, except for zhao Peiru, the master of the Tongtian Sect, are difficult for others to do.
<h1 class= "pgc-h-arrow-right" > "Yesterday" - Chang Baohua, Hou Baolin</h1>
"Yesterday" is one of the few praise works of Master Hou Baolin, and it is also a masterpiece that most shows Chang Baohua's cross-talk background.
"Yesterday" is about a person who was oppressed by various kinds of old society, and finally fainted from a sudden illness, lay in the hospital for ten years, woke up and entered the new China, faced with the changes of the times, the people turned over and made decisions, and completely unable to adapt to the "crossing people". This work does not have much baggage, but the structure is rigorous, and the subject matter is novel, which is a very sharp contrast between the old and new societies.
This kind of praise-type works need to make the actors have strong narrative ability, and Chang Baohua, a military cross-talk artist, is precisely a specialty in this regard, so in his gentle narration, the audience deeply feels the liberation of human nature in New China.
<h1 class= "pgc-h-arrow-right" > "False Stove King" - Liu Baorui, Li Wenhua</h1>
"Fake Stove King" is one of the anti-feudal and anti-superstitious praise masterpieces, and I personally feel that in terms of baggage treatment and story structure, "Fake Stove King" is better than similar works such as "Consistent Tao".
The main story line of this work is a feudal mother who firmly believes in the stove prince, and under the deception of her son, takes the portrait of the eight precepts of the pig as the stove king, and makes all kinds of strange jokes. The praise of this paragraph is the young Li Wenhua, which is different from the tone of later cooperation with Ma Ji Jiang Kun, Li Wenhua can also adapt well to the rhythm of Liu Baorui's old-school, without any soup leaking place, and the cold noodle praise master deserves it.
<h1 class= "pgc-h-arrow-right" > "Ode to Friendship" - Ma Ji, Tang Jiezhong</h1>
"Ode to Friendship" is the first cross-talk that was allowed to be performed in a special period, and it is also a cross-talk full of distinctive characteristics of the times, and Ma Ji is also known as a representative of the praise-type cross-talk because of this work.
Compared with the cross-talk that satirizes the old society and praises the new society before the special period, "Ode to Friendship" removes the most important satirical function, that is, it is not allowed to step on one and one, only dry praise. For this work, Ma Ji was guided by various laymen, adding some inexplicable words to it, making the whole paragraph baggage missing, the original humorous language was replaced by slogans, and the structure was slightly messy. From the perspective of Mr. Mattie's insistence on art, this work is not passed.
After all, "Ode to Friendship" was a special creative experience in my time. Many of the languages of this cross-talk became the popular language at that time. Moreover, many people born in the 60s and 70s think that crosstalk began in that era.
But this work is an important symbol of the darkest period that ignited the people's love for cross-talk, and it was like a ray of hope that illuminated the entire music and art world.
<h1 class= "pgc-h-arrow-right" > "Mountaineering Hero Praise" - Ma Ji, Tang Jiezhong</h1>
"Mountaineering Hero Praise" adapts the beams of the traditional cross-talk "Eight Fan Screen" into an experimental work of praise-type cross-talk, and from the perspective of audience recognition, this attempt is very successful and meets the needs of the times at that time. This also greatly exerts the talent and advantages of Mr. Ma Ji, who has both the words and deeds of old artists and the various life experiences of his own grassroots, so in terms of dismantling traditional passages and filling them with the theme of the times, Ma Ji can be regarded as a ride.
<h1 class= "pgc-h-arrow-right" > "Jingjiu Yanyi" - Hou Yaowen, Shi Fukuan</h1>
Hou Yaowen is Hou Baolin's master's words and deeds, as a talent cultivated by the second generation of Houmen, compared with Jiang Kunfeng Gong and others who focus on new cross-talk, Hou Yaowen has made considerable achievements in the new cross-talk and traditional fields.
And "Jingjiu Yanyi" is one of the best works of Hou Yaowen to combine traditional commentaries with the theme of praise, Hou Yaowen's more good role is the kind of cowardly little person in the dog, and the railway worker Li Tiezhu just follows this path to shape, plus the storyteller Shi Fukuan is fully supported next to him, interspersed with a traditional criticism from time to time, so that a cross-talk with a praise theme instantly becomes interesting and the jokes are white.
<h1 class= "pgc-h-arrow-right" > Dead Wood Blossoms – Zhao Weizhou, Yang Shaohua</h1>
This is also known as "Dead Wood Fengchun", when Zhao Weizhou created this paragraph, he did not expect it to be a fire, let alone become a representative work of him and Yang Shaohua.
In the 1989 Tongling Cup Cross-Talk Competition, the organizers wanted to find Su Wenmao to perform a work in the mountains, but Su Wenmao shirked because he was too old. So the organizers found the big apprentice Zhao Weizhou and promised that as long as Su Wenmao was willing to go out of the mountain, he could perform a work of his own. So Zhao Weizhou created a "Venus Regret" for Su Wenmao, and wrote a "Dead Wood Blossom" to star with Yang Shaohua.
As a result, Su Wenmao's "Venus's Regret" was not on fire, and "Dead Wood Blossom" became a hit. In this song-and-pop cross-talk with the theme of the marriage of the elderly, Yang Shaohua perfectly interpreted the image of an old man who was chewed on by his children but had the courage to pursue love, and Zhao Weizhou was willing to be a green leaf, giving most of the baggage to the side of the praise, not only playing Yang Shaohua's style, but also creating hot words such as "I want to blossom".
Therefore, it is not that the praise type cross-talk is not happy, but many creators have focused on the praise, and abandoned the essence of the baggage, replaced by Zhao Weizhou Yang Shaohua, and the praise type cross-talk is also popular throughout the country.
<h1 class = "pgc-h-arrow-right" > "A Scene in the Liberation War" - Wang Zijian, Chen Suo</h1>
Judging from the text, "A Scene in the Liberation War" is indeed a praise-type cross-talk, which is in line with the basic disk of satirizing the national army and praising the great guangzheng of our army. Moreover, it perfectly integrates many network strips and the beams of traditional cross-talk, which is better than Guo Degang's "Dream of the Western Expedition" in terms of program integrity and baggage density.
However, audiences who have heard the small theater version have difficulty in classifying this passage into the praise-type cross-talk sequence, just because Wang Zijian is too self-indulgent, often inexplicably adding some hanging, so that the original Wei Guangzheng's baggage becomes like a yin and yang weird irony.
In fact, this is also related to the overall environment of the entire small theater of cross-talk at that time, whether it is Guo Degang, Wang Zijian, Miao Fujinyan and other young actors of the same period, they all love to carry private goods in cross-talk, and point out that Sang Scolds Huai's test language limit.
Wang Zijian is known as the first person to drive in the small theater, Sumacher in the cross-talk industry, and later the second class was focused on supervision, which is also his too indulgent relationship.
<h1 class= "pgc-h-arrow-right" > "One Day and One Night" - Liu Junjie, Wang Hong</h1>
The representative work of Liu Junjie, the joke basket, is also the decline of TV crosstalk, and after the return of crosstalk to the small theater, it can be put on the highest quality of the big screen.
Although the theme of "One Day and One Night" is a new fashion of praising good people and good deeds, it also adds a lot of ironic elements. And in the full version of the small theater, there is a three-point sister plot, but Liu Junjie did not vulgarize it, but adopted the technique of "meat and strip vegetarian", although playing a little edge ball, but in fact, it is not vulgar at all, which is also the skill of the joke basket.