I didn't listen to a lot of Liu Ying's works, and the one I was most impressed by was "One-on-One" that he and his partner said together at the 2010 Crosstalk Competition. This work is close to reality and tells the pain in the hearts of many parents, so the live performance atmosphere is warm, and finally won the first prize.
Visiting Teacher Liu Ying on the phone, I can feel that this person is more serious, no politeness, no nonsense, simply and neatly. On the day of the interview, we met Teacher Liu in the Railway Cultural and Labor Troupe, and he first led us to see the Erqi Theater, when it was close to the Spring Festival, and a condolence performance to the old comrades in the troupe was being held in the theater.
Before entering the rehearsal hall to start the interview, Teacher Liu Ying went back to the office and took out a red bib neck and put it on his neck, making people look more energetic.
During the interview, Teacher Liu mentioned that Master Li Jindou's eyes are particularly large, in fact, his eyes are not small, especially when he very seriously expounds his understanding of crosstalk. It can be seen that he is usually diligent in thinking, has his own views and adherence to many things in the cross-talk circle, especially for the rules of cross-talk, he even has a special obsession.
Because he had personally experienced the teachings of the old gentlemen of the Qu Art Troupe, he regarded the word rules as more important than anything else. He even hoped that the rules-abiding cross-talk could become a zhiyin art like Peking Opera, and he was dismissive of performances that only pursued baggage and did not pay attention to rules.
After Teacher Liu Ying, I also interviewed Gao Xiaopan. He has a very good relationship with Teacher Liu, but he still does not understand Teacher Liu's obsession, believing that Teacher Liu Ying insists on a rigid "apprentice crosstalk". Teacher Liu said to XiaoPan, no way, I am the master brother.
Speaking of Yu Qian, an old partner who had worked together for ten years, Teacher Liu Ying did not hesitate to praise. He thinks that Teacher Yu is the best talent among their group of actors, and it is not surprising that he can have his own later achievements. Just a few days after interviewing Teacher Liu, I also inadvertently saw a group photo of several actors of the Beijing Qu Art Troupe traveling out in the 1980s, which included young Liu Ying, Yu Qian, Li Weijian, Wu Bin, Li Jindou and Chen Yongquan, who also looked very young.
In the front row, from left, are Liu Ying, Li Weijian, and Wu Bin, and from the left in the back row are Yu Qian, Li Jindou, Li Jianhua, Chen Yongquan, and Liu Hongyi
After the interview, we took a group photo with Teacher Liu Ying, and behind us was a group of tin cabinets, and on one of the nameplates, there was also the name of Teacher Liu's old partner Yu Qian. Before Yu Qian and Guo Degang became popular, Hou Yaowen, the head of the rap troupe of the Railway Literary and Labor Troupe at that time, once transferred these two rookies into the troupe, trying to build the strongest cross-talk team in China.
Interview with Liu Ying
Liu Ying: Born in 1969, from Beijing. At the age of 11, he was admitted to the Beijing Quyi Troupe to lead the class, and in the same year, he studied cross-talk with Li Jindou as a teacher, and received guidance from Wang Shichen, Wang Changyou, Gao Fengshan, Luo Rongshou and others during the school. In 1985, he entered the Beijing Qu Art Troupe as a cross-talk actor and performed with Yu Qian. He went to Japan in 1992 to study and returned to Japan in 1999. Since 2003, he has participated in the Beijing Weekend CrossTalk Club. In 2008, he joined the China Railway Cultural and Labor Troupe and partnered with Zhang Haonan. In 2010, the two of them jointly said "One to One" and won the first prize in the professional group of the 5th CCTV Crosstalk Competition. Representative works include, "One-on-One", "Teach You to Imitate", "Come again to Play The Riddle", "Suggestions", "Fashion Commentary" and so on.
Liu Ying was interviewed. Yang Ming photographed
"Quyi should pay the most attention to two words, rules"
Q: I see that you worshiped Teacher Li Jindou when you were 13 years old?
Liu Ying: 11 years old. It doesn't matter, it's just a matter of numbers.
Q: Did you study him as a teacher at that time, or did you really worship him?
Liu Ying: It's about worshiping the teacher.
Q: But at that time, Teacher Jin Dou was still very young.
Liu Ying: Fate, fate. When I worshipped him, he hadn't said "Wusong Fighting Tiger". I had been a hidden apprentice for several years because my master had a request for me. When we took the Beijing Qu Art Troupe, we didn't know much about cross-talk, that is, we liked literature and art, and our desire for performance was relatively strong. After the first and second attempts of the examination qu art troupe, after a week of training, everyone chose the teacher, and the people who knew the crosstalk at that time chose the famous teacher, and when I chose it, it was just in time for my master to push the bicycle to work, and I asked the person in charge, is this teacher talking about crosstalk? He said yes, I said then I'll learn from him. Now that I think about it, it's fate. At that time, I thought that my master was very prominent. The person in charge stopped my master, and master said that I couldn't teach, and I could still learn. He was about to push the cart to leave, and as soon as I pulled the back seat of the car, I said teacher, I must learn from you, and my master agreed. He trained me for a week, said a little paragraph called "One Divided into Two", said that a penny was broken into two halves, and I was admitted. In addition to my master, there are too many enlightenment teachers.
In his youth, Li Jindou and Wang Wenyou performed cross-talk
Q: The old gentleman was there at that time.
Liu Ying: Yes, Teacher Wang Shichen, Teacher Wang Changyou, Teacher Gao Fengshan, Teacher Luo Rongshou, these are our enlightenment teachers.
Q: It's a little incredible to think about it, I worship Teacher Jin Dou as a teacher, just because of my eyes.
Liu Ying: I think there is a kind of fate between the masters and apprentices in the cross-talk industry, which is not directly related to the size of fame. "The Master visits GaoYou", this "Master" is the "Ming" who understands, not the "name" of fame. During the week I learned from my master, he taught me something, and I was willing to learn from him, and I thought it was my luck, my creation. As for what year Mr. Jin Dou was famous, this has little to do with my ability to learn from him, many old predecessors and old artists do not have such a masterpiece as "Wusong Fighting Tiger", but his ability is very strong, and on the cross-talk stage, he cannot talk about heroes based on whose wrist is big and who is famous.
Q: There are different metrics in your mind than the general audience.
Liu Ying: Right. I am a professional cross-talk person, the so-called professional does not mean that I am in a professional literary and art academy, professional is that you take it as a profession, there is a saying that professional must have a sense of responsibility, cross-talk is great for me. The language art of crosstalk, the energy it has, I draw energy from it, and passing on this art is the support for us.
Q: The official name of the class you were taking at that time was...
Liu Ying: The Beijing Quyi Troupe leads the class, we are affiliated with the Beijing Opera School, we study the culture class and the physical fitness class is taught by the teachers of the drama school, learning cross-talk, the introduction of qu art, learning lines and vocal music is taught by the teachers of the Beijing Quyi Troupe. We are a very fortunate generation, and there will be no more.
Q: Is this the same as Teacher Qianxiang and Teacher Zengrui's quyi class at that time?
Liu Ying: The same, Uncle Qian Xiang and Uncle Zengrui are two generations older than us. Strictly speaking, the Beijing Quyi Troupe should lead the class for five generations, not strictly speaking for three generations. The first generation of actors has Teacher Mo Qi and Teacher Ma Qi, the second generation is my master and Teacher Qianxiang's generation, the third generation has Teacher Zhang Zhiqiang and Teacher Zhong Yujie, the fourth generation has Liu Tingkai, Cui Weili, Li Hongjun, we are the fifth generation. Our fifth generation of actors also had eliminations and additions, the first ones were me, Yu Qian, Li Weijian, and later added in wu bin and other actors.
Group photo of the 1960 Beijing Qu Art Troupe students. The front row is Wang Changyou and Tan Boru, and the back row is Li Jindou, Li Zengrui, Wang Wenyou, and Wang Qianxiang from the left
Q: Then there was no sixth generation.
Liu Ying: No. I think that the cultivation of quyi talents with this kind of group leading class is the best, and the teachers are strong. I always tell people that we are 21 old seniors to give up.
Q: Will you still fight by then?
Liu Ying: Hit, fight, fight. Crosstalk education is more stringent, for example, my master taught me to be very harsh, did I feel uncomfortable when I was a child? Yes. But now I understand that this way of education is scientific. As soon as you say the word "type", a very bad picture immediately appears in your mind, then it is not right, the old man's beating is the point to the end, a bit like the Buddhist saying that the stick drink, at which point to hit you, tell you to concentrate here, you will remember. This thing brings you for a lifetime, we call it porcelain.
Q: At least it's good for learning crosstalk.
Liu Ying: When I was studying "Yellow Crane Tower", Teacher Luo Rongshou hit me with several bags of cigarette bags and pots, and at that time I felt that it was a great shame to recruit Teacher Zhao to be angry. Teacher Luo held the cigarette bag pot and held his hand straight up, now think about it, I am not related to him, on the generations he is also so many generations older than me, why does he scream? What did I do to make him angry like that? To illustrate what, he loves crosstalk too much, and he hopes that we can become the successors of crosstalk. I am almost at their age now, and I can only be grateful and grateful for these old gentlemen.
Cross-talk master Luo Rongshou
Q: You just said that the people who beat you were all old gentlemen, and Teacher Jin Dou didn't dare to beat you, right?
Liu Ying: Does my master still use beatings, and his big eyes are staring, do you still use beatings?
Q: Did you tell your family about these things when you were beaten?
Liu Ying: Don't tell your family. I think that's my fault, can I say my mistakes all over the place?
Q: In the early 1980s, people had begun to pay attention to the so-called diploma education, when you wanted to apply for the cross-talk examination, did your family understand?
Liu Ying: I understand.
Q: Just like it.
Liu Ying: No, it's difficult. To tell the truth, my mother is not in good health, she was bedridden at the age of 30, the family depends on my father, and I have an older brother above me, so the children of the poor have long been in charge, and from a young age, they want to save their families worry and effort, and go out on their own.
Q: What can you see from those old gentlemen? For example, focus on basic skills? Focus on rules?
Liu Ying: I think the focus is on two words, rules. Now that the rules are all about morality, I don't think that's enough to say full. There are rules for learning art, rules for performance, rules for being a person, and rules for inheriting and inheriting. The two words that the music art world should pay attention to the most are rules. My master told me that Mr. Hou set eight characters for our Jingpai cross-talk, which were elegant, well-behaved, delicate, and fluent. The rules of a cross-talk actor, from which cross-talk you want to create, which cross-talk you say, what is your purpose, what you want to perform, here are the rules. It's not how I want to say it, it's not a baggage that I'm going to put in. What to choose, the clothing is ironed very standard, this is a rule. Walking on the stage, your rhythm, your frequency is a rule, how to go from the pad talk, the scoop to the end, this is a rule, how to communicate with the audience, communicate with the praise, this is also a rule, how to dismantle and wash again after coming down, it is also a rule. There are rules for every detail, which can distinguish between professional and amateur. The rules should be exquisite and not to be done. The teacher asked us to be stricter, and every action and every expression had rules. Those ten minutes on stage are not play, you need to be as nervous as an athlete. A lot of cross-talk performances seem to be relaxed and casual, from the beginning we called climbing the slope, and the old man said that we had to learn from the Typhoon Peking Opera artists. For example, Mr. Ma Lianliang, looking relaxed and casual, in fact, taking his shoes has stepped out of the pit on the stage, and his internal strength is very large. If crosstalk believes in the reins of the horse and says, we are not called art, we are called disasters from the mouth, how much cultural support and basic skills support do you have? You see Mr. Ma Sanli standing on the platform looking so nagging, in fact, not, I heard my old ancestor Mr. Wang Changyou said, he and Mr. Ma Sanli are friends with Mo Rebellion, he and Mr. Liu Kuizhen two people went to the house to read Mr. Ma Sanli live, the so-called reading life is to say, this paragraph is created by us, but we both said it is not wonderful, we will give you this program. Then Mr. Ma will perform this in front of them, and sometimes you look at Mr. Ma saying a line as if you can't remember the next sentence, but that's actually his performance style. A lot of people want to imitate this now, are you like that? My cross-talk pursuit is four words, tongue to cure the heart. This is what Mr. Zhu Shaowen, the grandfather of Xiangsheng, left behind. You know a lot about crosstalk, what is Zhu Shaowen's stage name?
Q: Poor people are not afraid.
Liu Ying: The three words you said are right, but you are wrong, and there should be a pause after saying it, and then you are not afraid. I think that those who say crosstalk should have a heart that is not afraid of poverty, so that they can say crosstalk well. My master often told me to buy a foot and expose eight points. The old man also told us what it is like to have a good crosstalk, so that after you listen, you will find nothing and return with a full load. Crosstalk has a philosophical meaning.
Question: What the old gentlemen have handed down, what you usually think about, can you tell the young people today that they can understand?
Liu Ying: Cross-talk is the art of exuding personal charm, but it cannot be said that whoever says it is completely right, and what others say is wrong. Mr. Shi Shengjie told me that you can't be a "Trinity" cross-talk actor, a face, on and off the stage are like that; a word tone, speaking without tone change; a soup, performing any program is a taste.
"On talent, Yu Qian ranks first among our group of actors"
Q: Let's go back a little bit, how many years have you been in the cadet class?
Liu Ying: At first, it was three years, and then it was added two years, a total of five years.
Q: When you are studying, are you even a member of the Qu Art Troupe?
Liu Ying: A student of the Suanqu Art Troupe. Examinations are taken twice a year, and there are also eliminations, there are business scores that are not high, there are people whose life behaviors do not match, and there are other opportunities to find another way to get better, and there are various situations.
Q: Did you have a stable partner at the time?
Liu Ying: Yu Qian. I partnered with Yu Qian for ten years, from 1982 to 1992. The two of us met when we entered the cadet class exams, and then we have been partners.
Young Yu Qian
Q: Have you always teased him?
Liu Ying: Right.
Q: You have been working together for more than ten years, do you have an evaluation of each other?
Liu Ying: My evaluation of Qian, it is not surprising that Yu Qian can have today's achievements, he has been very good since he was a child, the old gentlemen and classmates can see that Yu Qian's praise is very similar to Mr. Zhao Shizhong.
Q: Mr. Zhao is praising everyone.
Liu Ying: And Yu Qian's artistic qualities are also influenced by his family.
Q: He's from a family of intellectuals, right?
Liu Ying: Intellectuals. Yu Qian was educated from an early age and wrote well, and when we were young, he wrote best. You are now listening to Yu Qian singing, singing Peking Opera, singing music, and since childhood in our group of children, he is different from others. He is particularly studious, he learns quickly, and he has talent, and after learning, he will be very porcelain, but we have to keep practicing, and if we don't practice, we will forget. In terms of talent, he should be the first in our group of actors.
Q: You still have a fate, separated for so many years in the middle, and later his relationship reached your railway literary troupe.
Liu Ying: Right, right. But he came first, and I came in later.
Q: Why did you go to Japan in 1992 to study management? Is it because of the crosstalk recession?
Liu Ying: Yes, yes.
Q: To what extent was the crosstalk recession at that time?
Liu Ying: Many of our classmates went to apply for the acting department and the directing department of the film school, and they all went to study the deputy subjects, and since everyone has other pursuits, I will not do it at all.
Q: I heard that the salary given by the music troupe at that time was very low, and the performance...
Liu Ying: The key is that there are very few performance opportunities.
Q: The performance market has not yet flourished, and the TV show can't be your little ones, right?
Liu Ying: Right. Didn't I shoot "The Story of the Editorial Department" with Yu Qian at that time? The TV drama trend has just come, after filming "The Story of the Editorial Department", I will leave, where do I know how to judge the future. And that age is when our love sinuses first opened, the knowledge and culture are lacking, and it is difficult to accurately judge the future. If you read more books during the student class, listen to the old gentleman more, and learn more programs even if we don't act, the ability to judge independently will be enhanced. To tell a joke is to regret it, and you can only make your life as wonderful as possible in the future, and understand a little.
Liu Ying and Yu Qian participated in "The Story of the Editorial Department"
Q: In fact, it is understandable that you entered the society early, and you were actually only in your 20s by the early 1990s.
Liu Ying: 22 years old.
Q: What was Teacher Jin Dou's attitude at that time?
Liu Ying: Don't let me go. Just because Master said a word to me, I only carried it for seven years, or I would run back in half a year. Master said to me, Grandpa, we do this, there is an old saying that shoulders cannot bear burdens, hands can not carry baskets, you say that you are going out to school, who raises you? Aren't you allowed to support yourself as a work-studyer? Can you stand it? Listen to me, don't go. But at that time, I was young and did not listen to Master.
Q: But you couldn't see the future of that state at home.
Liu Ying: Yes, there are too few opportunities for practice, and I can't perform a few times a year. At that time, it was the time when the Beijing Qu Art Troupe was at its strongest, and it was not our turn to take the stage. When we entered the music troupe, every time we performed my master and Uncle Qianxiang, the two pairs of them rotated to open, and when we graduated, my master had already gone to the "bottom". I'll tell you about the lineup of our party at that time. Teacher Liang Houmin opening do you believe? The second session, Yin Peitian and Liu Chen's "The Elderly", three Qian Xiang Uncle, four my master and Mr. Chen Yongquan, five Shi Wenhui and Li Shiming, six Mr. Liu Sichang, seven my master Mr. Zhao, they, the bottom is Xiaolin. There were many people next to them who could not get on the field, like Wang Wenyou, Chen Zhifeng, and Li Hongjun.
Q: So you don't see hope.
Liu Ying: Yes, there are too few opportunities to perform.
Q: Teacher Jin Dou can only remind you how difficult it will be to go to Japan, but at that time, the way out of your state was not good.
Liu Ying: Not good.
"I'll restore you, you'll do it"
Q: There is a detail after arriving in Japan, when washing dishes...
Liu Ying: Yes, really memorize "Menu". I don't know anything about English but no problems with Japanese. It is actually difficult to learn crosstalk and then learn a foreign language, and Japanese people always say that the Japanese I speak is very strange, but they can understand it. When I was washing the dishes, next to me was an old Japanese lady in her 70s, bending down to brush at the same time, people can not straighten for two or three hours, but I am old and straight waist, I am always told by the store manager. I came from a dignified background, I had to carry it, that had to be distracting, I began to memorize the "menu", steamed lamb, steamed bear paws, steamed deer tails... Japanese people always ask, what do you say? I said I was memorizing fifty tones.
Q: What is the Fifty Tone Chart?
Liu Ying: It's the Japanese phonetic alphabet.
Q: You went to Japan in 1992 and came back in 1999. How did you come up with the idea of coming back?
Liu Ying: I was tricked back by my mother. She thought I couldn't go on like this, so she lied to me that she was sick and asked me to come back to see her, and when I came back she withheld her passport.
Q: You were 30 years old.
Liu Ying: Right. First of all, I knew that I couldn't say crosstalk at that time, I didn't practice myself for a day, I didn't practice myself for a week, I didn't practice my peers for a week, I didn't practice for a month, everyone knew, I hadn't been on the stage for nearly ten years. At that time, no one dared to admit that he was a cross-talk actor.
Q: Did you come back to see Teacher Jin Dou?
Liu Ying: See, he blew me out. I just came back with gray hair and earrings, I called in advance and he knew it was me, as soon as I opened the door my master still came, are you? I said Master is me, and he said to go out, when all these things are put together before he can come in. The next day, I quickly cut my hair and took all the bits and pieces before entering Master's house. Master said, that's right, we're Chinese. He told me to rest first and then see what to do.
Q: He's not talking about crosstalk either.
Liu Ying: He was observing, and he also saw that I had lost the basic skills, although we all carried the Tong Zi Gong, but he was afraid that I would lose it. I didn't tell him that I was practicing Menus every day.
Q: Mr. Hou has not been on stage in ten years of the Cultural Revolution, and he is a little vague when he comes to power again. So are the masters.
Liu Ying: We call it "top".
Q: So you did a few years of work in other industries, did it go well?
Liu Ying: It went well, after all, I learned management, and I have a powerful weapon.
Q: Can I say.
Liu Ying: Language. Not called being able to speak, language. I have an extreme saying that language is the first productive force.
Q: It takes a few words to make things clear and to make people understand your intentions.
Liu Ying: Right. We have been in language arts since elementary school, and when I communicate with people, I can play it, such as stealing concepts, finding harmonic sounds, and the ultimate goal is the bottom. For example, doing marketing, communicating with people directly to the throat. So I was still developing like a fish.
Q: It wasn't until 2003 that Mr. Jin Dou formed the Beijing Weekend Crosstalk Club.
Liu Ying: Yes, my master and Teacher Song Dequan set up a club, and I always met with them at that time. My master said that for the club to develop steadily and healthily, it needs three generations of old, middle-aged and young actors, and he said that even if he was old at that time, there were young people, and the middle-aged strength was insufficient. He said to me, you have been with me for so long, the enlightenment teacher has taught you so much, if you don't show it, it's a pity. I said at that time that Mr. Yang Shaohua had said that anyone who has learned cross-talk has a fungus in their blood, called a laughing fungus, which cannot be destroyed in this life. I said that I truly appreciate this sentence, crosstalk is a mountain, I have reached the foot of the mountain, and now I can only admire it. My master said, I want to restore you, just do it. He said if he couldn't, there was another person who could do it, who? Your other enlightenment teacher, Mr. Chen Yongquan. I said Master, allow me to think about it for three days, and then I really struggled at home for three days.
Li Jindou and Chen Yongquan performed cross-talk
Q: That shows that on the one hand, you are not sure about the path of cross-talk, and on the other hand, it also shows that your own career development at that time was OK.
Liu Ying: Right. In the end, it is creation, that is, fate. But I was still very miserable to recover from crosstalk, and I went back to the apprentice stage, being scolded and reprimanded, and at that time I was in my 30s. The first time I returned to the stage with my master, I sweated a lot and came down soaking wet. Later, with the help of my master and Mr. Chen Yongquan, I recovered for two years.
Liu Ying and Li Jindou and others took a group photo
Question: Those two years were Teacher Jin Dou's praise, and he held it up?
Liu Ying: Yes, why should I find a new partner after recovery? Because I think my master is not easy, he is the head of the family, the business is like day in the day, he also has a lot of affairs to be busy, take time for me to rehearse, I can't bear it. Later, I still lived with Teacher Chen Yongquan, but after all, the old man was old, and sometimes he went out to perform, and it was a responsibility to me to take Teacher Chen out. After recovering, I need speed, and I found HaoNan among many children in the background.
"Creating a superior cross-talk needs to be considered by seniors"
Q: You and Mr. Hao Nan started working together in 2005.
Liu Ying: In 2004, I first looked for Kang Xun, and before I looked for Zhang Haonan, I had already begun to take the creative route.
Q: Can you tell us about Mr. Kang Xun?
Liu Ying: Teacher Kang Xun's father is named Kang Songguang.
Kang Songguang and Jin Peiliang performed cross-talk
Q: Teacher Kang, we just talked about it two days ago.
Liu Ying: Teacher Kang Songguang is the youngest apprentice of our ancestor (Wang Changyou), and Teacher Kang Xun has been a professional writer on CCTV for many years, and has written sketches and cross-talk. For example, Li Weijian's performance of "Consultation Hotline", I said "One-on-One", and some sketches at the Spring Festival Gala, he has participated. He is also from our regiment. I told Mr. Kang Xun that I have a lot of ideas, after all, I have gone out, experienced a lot, have their own understanding of a lot of traditional cross-talk, and then the two of us have cooperated to write "Teach You to Imitate", adapted "Riddle of Lights" called "Hit the Riddle Again", as well as "Advice", "Fashion Commentary", "Rap Double Stick", "Weight Loss Family", and also adapted "Kwa Residence" called "Settle Home", the last paragraph said that the mouth of various clocks and watches, many of which the audience does not know, I will change it to the current international brand, Say it in one breath.
Cross-talk screenwriter Kang Xun
Q: That partner in acting is Teacher Haonan, who is Jianhua Teacher's apprentice, right?
Q: Did Mr. Jin Dou and Mr. Jianhua start to cooperate at that time?
Liu Ying: We have been cooperating for a long time, and the club has started to cooperate before.
Q: When you entered the Railway Literary troupe in 2008, most of the audience knew you both, and through the fifth cross-talk competition in 2010, you talked about the section "One-on-One". The effect of the scene is very good, you later said at the CCTV Lantern Party in 2011. This paragraph should have made a lot of effort, and the theme is also close to the reality of many families, how did this idea come out at the earliest?
Liu Ying: I went to Kang Xun to talk about creation, into their community, saw that the community is full of small advertisements for tutors, I told him, this advertisement to your community is about to be pasted, is this worth talking about? He said I was thinking about this for the past two days, so the two of us hit it off. It turns out that our job is called "I want to be a tutor", who changed it to "one-to-one" for us? Mr. Kang Songguang.
Q: He's also very good at creating.
Liu Ying: At that time, there was a brand that specialized in one-on-one training, which was the most profitable. This program is also dismantled and washed over and over again, from "I want to be a tutor", to "I am a black tutor", and then to "one-on-one", the theme from satirical tutoring to saying "don't let the child lose on the starting line" is wrong, the latter theme is our general group leader Liu Zhijiang reminded me, this is just an advertising word, not a philosophy of life. Later, Mr. Jiang Kun, Mr. Shi Shengjie, not to mention my master, Mr. Shi Fukuan, Mr. Zhao Yan, Mr. Yuan Dewang...
Q: The director of CCTV.
Liu Ying: Yes, many people, as well as Mr. Li Zengrui and Mr. Chang Guitian, have rehearsed this work for me. My experience is that if you really want to create a superior cross-talk, you have to find the seniors to help you consider, and there is no way to make the show the last one by relying on a few of us.
Q: What if they disagree?
Liu Ying: There are too many such cases, so I will persuade, for example, I said, such a change in your style can be expressed, and I can't do it, I can't do what I can't show, that is, a waste of time.
Q: It is necessary to learn from the strengths of all, but also to have your own judgment.
Liu Ying: For example, my master told me to do a few places, and I told my master that I couldn't perform like that in his style, in the state of a celebrity. Let's say that the pad words inside, my pad words are relatively long, he thinks he can remove, I said I am different from you, as soon as you go up, everyone is willing to listen to you, I go up to attract attention first, even if there is a requirement for performance time.
In 2019, Liu Ying and Hao Nan performed cross-talk. Yang Ming photographed
Q: To participate in this kind of competition, the work is time-required, right?
Liu Ying: Yes, 13 minutes, I have overtaken, super 4 minutes. Crosstalk needs to be superimposed and organized in order to form the final ending, a sentence to make you happy that is a joke that is not crosstalk.
Q: Like Mr. Su Wenmao's "Throwing Boots", if there is no first two times, only the last one will not be happy for the audience.
Liu Ying: The education I received was that if the old man said that if all you were given was baggage, you would not say crosstalk in the future, and when you encounter crosstalk without baggage, it would definitely not work. Again, how do you know that a language without baggage really has no baggage?
Q: At least it's attractive.
Liu Ying: We listen to a lot of Mr. Liu Baorui's works, and there is not so much baggage, but he left a lot of amazing works. Cross-talk actors should grasp the skills and functions of laying baggage, turning over baggage, and shaking baggage, and the language without baggage should also be very flavorful.
Q: Speaking of "One-on-One", its content is very close to the reality at that time, how to view the distance between cross-talk works and reality? Now there are some works that don't care about reality.
Liu Ying: "One-on-one" is a time-sensitive program, can it stay a little longer, yes, but it requires a lot of effort. It is tailor-made for the competition, and this cannot be avoided. The small garden has the cross-talk of the small garden, the big theater has the cross-talk of the big theater, which is very fine, the competition program pays attention to the skill, the talk and singing are reflected, "One-on-one" These are all there, but there is no inversion.
"I want to stick to the crosstalk in my heart, even if I am the only one left"
Q: In terms of cross-talk creation, you have put forward the idea of cross-talk industrialization, thinking that the income of actors and creators does not match, is this question now solved? Is it that now the creative ability of the cross-talk actors themselves has improved?
Liu Ying: I don't care if it can be solved, I have to solve it myself. Crosstalk to today, laymen say that crosstalk has a low, whose problem? Crosstalker's own problem. It is unlikely that a cross-talk actor wants to act well in sketches and movies, and do all this well, and it is not easy to do it well. Cross-talk text creation is the most difficult literary creation, which is not what Liu Ying said, this is what Lao She said. Crosstalk also relies on professional creative teams, cross-talk actors collide with them to create sparks, and our actors' perception of words is still relatively poor, and it lacks theoretical foundation. Just like there is a Wang Zhilao next to Mr. Hou Baolin, Mr. Hou has said a lot of words, "Hold tightly, tightly, lay steadily, shake accurately", and "Ning is not enough, mo overdo it, just right, room for room", what if Elder Wang Zhi does not give him a summary?
Q: Height and depth are not enough.
Liu Ying: Absolutely. People specialize in music and drama research, and our cross-talk team needs such people.
Q: Mr. Hou is a master of performance and a master of cross-talk, but theoretically...
Liu Ying: As an artist, you can stand on the stage and erect a monument, a tree monument can be, but it is not possible to pass it on, and you must polish it together with two groups of children. How many cross-talk creators have been lost over the years? I don't have that big ambition to save this situation, but anyone who works with me, like Kang Xun, I will give you a creative fee, I will act in your show in the future, no matter where you go, I will definitely give you 10% of the remuneration. In this way, the author will write to you very carefully, and he will think that I am with you after writing, rather than writing and never having anything to do with me again. The old gentlemen said that if I have a bite of meat to eat, he must have a bite of meat to eat, and if I have a mouthful of soup to drink, he must have a mouthful of soup to drink.
Q: Within your range of vision, are there many people like you and Mr. Kang Xun doing this?
Liu Ying: I haven't called for that, and I've already caused a lot of people to resent it.
Q: Why?
Liu Ying: I don't know, everyone's values are different. Understanding me, not understanding me, even hating me, this allows, of course I also allow a lot of people to like me.
Q: However, some people say that today's cross-talk actors need to have the ability to create in order to go further. Write it yourself, and find professional collaborators to write, how to grasp this?
Liu Ying: The actor writes it himself, which is OKAY, but I advocate borrowing from professional creative personnel, no matter how strong a professional actor's creative ability is, sooner or later he will fall into the situation of poor donkey skills.
Q: Hollowed out.
Liu Ying: Of course, the actor should be expressive, if no one helps you stare, it is likely to walk into the dead corner of solipsism, for yourself may be fine, you should earn money, but it is not helpful for art.
Liu Ying and Li Jindou performed cross-talk
Q: Nowadays, the entertainment of cross-talk is getting stronger and stronger, especially the private small theaters cater to the entertainment needs and tastes of young audiences.
Liu Ying: Crosstalk is functional, educational, entertainment, entertainment is only one part of it, you develop this part infinitely, you are very skilled in this technique, but the other techniques composed of crosstalk, you are not skilled. This goes back to what Mr. Shi Shengjie said, you are the "Trinity" cross-talk actor, cross-talk should be a person with a thousand faces, not a thousand people, once you only say this kind of baggage dense entertainment cross-talk, you can't say big cross-talk, with characters, with scenes, with story narration, you can't perform, you can only make up a small paragraph. I am saddened to see that some of my elders are also performing like this on stage. Is this someone else's fault? No. The cross-talk community must be tolerant of each other's views, can not say that my existence is right, the existence of others is not right, young people say that it is not right, you call on him to change? Who's the question, his teacher's question. What is a mentor-apprentice relationship? A student having a problem must be the teacher's fault. I recognize that my master taught me the method, I will go all the way, I am hungry, I also let the standard of living at home improve, but people have to talk about a few things, the first is creation, I can have the ability, but what if I do not have creation? Then I have to face the reality and find my own position. There are also people who have no patience...
Q: He's on fire.
Liu Ying: Fire has nothing to do with whether you can understand crosstalk and whether you can inherit good crosstalk. The audience likes you, that's a fact, but the of a thousand miles is destroyed in the ant nest, and this way of performing you, the old man said, give him three years, can he carry it down? If the basic skills of crosstalk are not laid down, can you still stand on the stage and say crosstalk at the age of 37 to 45? Either you change the host, or you change it to something else, Master Hou panicked when he came to power, he is a taidou. Mr. Su Wenmao told me that crosstalk is a flower, crosstalk actors are bees, and honey picking does not hurt flowers. Nowadays, people are no longer bees or horse bees, and they have all the flowers broken. I can dedicate my life, I can't dedicate the life of crosstalk, the old man once said, when you come home every day to see the whole family's old snacks are very good, when you dress very decently and respected, you should look up at the sky and say a word, thank the grandmaster for appreciating the meal. Stick to your own choices, tongue to heart.
Q: Are you optimistic or pessimistic about the future of crosstalk? Will the form of crosstalk change?
Liu Ying: There will be changes. And I'm optimistic too. I think there will be two teams in the future, and one team is like me.
Q: Hold on.
Liu Ying: Speaking of persistence, some people think that we are stubborn.
Q: It's more old-school.
Liu Ying: Yes, it is tradition, I am very traditional, I must stick to cross-talk like Peking Opera people stick to Peking Opera. Another cross-talk team has changed the cross-talk process, for example, to a more relaxed form similar to a talk show. People are not wrong, because they have not undergone the rigorous education and training I have experienced, I just want to stick to the crosstalk in my heart, even if I am left alone to stick to me I am happy. We must clearly distinguish that crosstalk is crosstalk, baggage is baggage, baggage is in crosstalk, crosstalk cannot be inside baggage, and now everyone takes baggage too seriously as life, this is not OK.
Q: But some viewers recognize this now, you just let me have fun, I don't care what your tradition of stylizing crosstalk looks like.
Liu Ying: Yes, the audience is not wrong, some audiences need to reduce pressure, but they also need to go through a stage, when you reach the age of some things you can't laugh, you have to listen to some heavy things. You let me go to the stage at this age to talk about all kinds of fashion baggage, and don't the young audiences on the stage feel strange? A cross-talk actor wants to make the post-60s, post-70s, post-80s, post-90s, and post-zero-zero all like, it is impossible, but the old man puts on a coat and stands on the stage as long as the typhoon is correct, he will be respected, which is the charm of cross-talk. If those young people want to touch our side of the field in the future, he will not be able to come in, because he has no foundation, and I will not criticize them, because of their presence, they form crosstalk.
Q: Do you think they will grow as they age?
Liu Ying: What is the number of today? Let's make a bet that ten years from now you'll interview them and they'll be killed by another generation or two younger than him. I studied the thickness of crosstalk, and I carried another function of crosstalk, inheritance, and they used the offense of crosstalk.
Q: There is a saying that the difference between Peking Opera and cross-talk is that Peking Opera has become more and more of a kind of Zhiyin art, which is only liked by older people, and it is more disciplined. Is it possible that the cross-talk of this team you insist on will become the art of a small number of people like Peking Opera in the future?
Liu Ying: Don't be ashamed, crosstalk can't become Peking Opera, many practitioners don't love Peking Opera as much as Peking Opera people do, of course, I hope that Xiangsheng will become Peking Opera, if it can't become, our team will be eliminated by the times in the future. People came up and changed the crosstalk, changed these two words to other words, then I can only face, I am willing to hold these four books, even if I am crazy like Cheng crazy, I am also very beautiful. Because I have pursued in this life, I think I am pursuing correctly, the rules of crosstalk are a great support for my life, I am very happy, I live in my crosstalk, I will not live in others to evaluate my crosstalk.
Q: But this adherence to tradition doesn't reject innovation, right?
Liu Ying: Don't refuse, for example, I changed "The Riddle of the Lights" to add a logic, but not to destroy its rhythm and skills, but also to turn it over and four, and to "eat vomit", it still has to be cross-talk.
Note: Unless otherwise noted, the pictures in this article are from the Internet
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