Tian Lihe's live broadcast broke what cross-talk "superstitions"?

Recently, more and more quyi and cross-talk actors have begun personal live broadcasts, some people in order to attract the audience, increase traffic, expose some of the so-called insiders in the industry, especially amplify the contradictions between some actors or historical grudges, and even more some historical suspense cases, such as the death of Liu Baorui, simply attributed to someone.

These so-called insiders or insiders seem to be exposing the "shady" inside the industry, but in fact, most of them are one-sided words, with strong personal subjective factors. Whether individuals have profited from these live broadcasts is not easy to say, but for the development of the music art and cross-talk industry, there is no benefit except for splashing sewage and making people misunderstood.

Compared with these people, the live broadcast of cross-talk topics made by cross-talk performance artist Tian Lihe is based on cross-talk art works and cross-talk history, and on this basis, it tells the events or stories of some cross-talk celebrities, spreads cross-talk culture and related traditional culture, and has a positive significance for cross-talk and even the dissemination of traditional folk culture. In the words of our common people: it is not a big thing, but virtue is not small.

Common sense without gossip

As an old cross-talk actor and qu art teacher, Tian Lihe first achieved truth-seeking in his live broadcast of cross-talk, not only authoritative but also daring to put forward his own academic views. During the live broadcast, he questioned some of the views in the "History of Chinese Cross-Talk" compiled by Wang Jue, Wang Jingshou and others. This kind of questioning is not based on "raising the bar and raising the knowledge", but on the basis of his own years of artistic practice and art education.

For example, he believes that the "History of Chinese Cross-Talk" exalts the status of cross-talk and does not conform to reality.

Although this live broadcast is not a lecture, the old artist's attitude of exploring academics and seeking truth from facts and the cultural connotation and spiritual connotation conveyed by it are not measured by the number of fans or the click rate. In fact, deliberately elevating the folk art represented by cross-talk is not conducive to the creation of these arts in reality, and it is even easy to give the creator a wrong guide: let the folk art move towards the so-called elitism and templeization, and lose its popularity, popularity and entertainment. Simply put, it is easy to let cross-talk works detach themselves from the masses and out of life.

Of course, questioning the theory of authority does not mean that the old artist is arrogant. Because the things of cross-talk actors and scholars have appeared endlessly on and off the stage over the years, compared with the younger generations, Tian Lihe put forward personal academic opinions on the viewpoint, which is reasonable and well-founded, not to people, let alone people.

This is also reflected in his views on Lao She's cross-talk creation. On the one hand, he talked about Lao She's help to the cross-talk industry during the cross-talk improvement group period, but on the other hand, he also mentioned that Lao She's achievements in cross-talk creation were not as good as in literary drama. A notable example is that Mr. Lao She's cross-talk works have not really survived on the stage. The reason is actually very simple, in terms of cross-talk art, Mr. Lao She is an amateur after all, not a professional. In terms of artistic creation, whether it should follow the laws of art or follow the celebrities or the so-called authority, Tian Lihe gave his own choice.

Respect the teacher and not only the generations

Secondly, as an "old man" in the cross-talk industry, Tian Lihe can "correct" some rumors and misinterpretations about cross-talk, mainly based on his own experience to popularize knowledge. For example, the so-called "Deoksho Bao Civilization" typography problem. Tian Lihe made it clear that there are generations, but this "Deshoubao civilization" typography does not exist. Over the years, under the "publicity" of some cross-talk performance groups and actors, the importance of cross-talk seems to have exceeded the importance of cross-talk art. To measure the level of a cross-talk actor, the first thing to look at is not his "stuff", but his "typography", it seems that verbally respecting this so-called "typographer" and respecting this "generation" is to respect the teacher.

And Tian Lihe gave people an obvious feeling in the live broadcast: the heavy teacher respects the elder and the young, but the light generation is slightly typeset. For example, according to the generation, he is the uncle of Li Boxiang and Wei Wenliang, but he and these two brothers; actress Zhang Wenxia was originally a generation younger than him, but later became his wife. Some old actors of Tian Lihe's generation could not accept it and complained to his master Zhang Shouchen, but Zhang Shouchen did not hinder but supported Tian Lihe's marriage. It can be seen from this that if the so-called teacher inheritance and generational problem still has the role of family management and industry self-protection and self-regulation in the old society, then its greater role after the founding of New China should be in the education and inheritance of cross-talk art and industry morality, rather than being similar to the feudal family or the jianghu gang organization that restricts cross-talk actors. The new society is coming, and the cross-talk industry is no longer and should not be a land of rivers and lakes.

If today's cross-talk actors still talk about things in terms of generations, and hang "typesetting" on their lips, on the surface they respect tradition, but in fact they ignore art and art itself, and they are engaged in circles, pulling mountains, walking rivers and lakes, and grabbing markets, which is essentially a retrogression of history.

Realistic and not touted

As a cross-talk artist, Tian Lihe not only introduced the birth and development process of some classic cross-talk works in the live broadcast, but also dared to criticize some problems in cross-talk creation. For example, he introduced the development process of "Newspaper Name". The earlier "Name of the Dish" was a joke to invite the father of the praise to eat, and the word was to fall on the ethics (called daddy), that is, the cheap of the comic copy. Later, people were embarrassed, and the baggage was too low-level, so they changed to please hold the table to eat. In addition, at first, there was no "four dry, four fresh, four preserves, four cold meats" in this cross-talk "through the mouth", which was slowly added by later generations to enrich the expressiveness of this work.

For example, he criticized "Sweet and Sour Live Fish", a new cross-talk work in the era of reform and opening up, believing that this cross-talk is divorced from the reality of life - because there can be no master chef on the train to make such a troublesome high-end dish as "sweet and sour live fish", on the other hand, Americans do not eat carp, and there is also a point that cross-talk itself ignores the problem of animal cruelty.

Some people may think that "anti-cruelty to animals" is a problem that people only realize today, but Tian Lihe uses a traditional cross-talk work that reflects the retribution for the abuse of donkeys to illustrate that the work itself is also contrary to the cognition of the old era shown by traditional cross-talk, although the latter still has some superstitious ideas of karma.

It can be seen from this that cross-talk creation itself is a rigorous thing, and the text of a cross-talk work itself is equally important as the technique; at the same time, cross-talk creation is a process of continuous development and continuous progress; cross-talk actors are not stubborn from the older generation, and those who cling to shortcomings are all based on their own reality, to innovate and "change the law" - to borrow Tan Fuying's words, "the drama people will change, each has its own ingenious differences", only in this way can there be food.

Compared with what Tian Lihe said, what is popular on the cross-talk stage now, and what a considerable number of fans are obsessed with, is not the work, not the art of cross-talk, but the spilling of dog blood by the actors; the actors are not selling crosstalk, but selling cuteness, selling "corruption", selling foreign affairs, selling low-level fun. Compared with what Tian Lihe talked about in the live broadcast, some actors, especially some young actors, can really respond to an "old saying": raising turtles in the jar - the more you live, the more you smoke.

Engage in the art of laughter rather than selling laughter

I don't know how much traffic Tian Lihe's live broadcast has gained, but from his live broadcast and from his speech, we can see the love and respect of an old cross-talk artist for cross-talk, and we can see him and the independent cross-talk personality and cross-talk character of the older generation of actors like Li Boxiang and Wei Wenliang: they are engaged in the art of laughter, but they are not selling laughter.

Their generation has not failed to live up to their predecessors, and has always accepted and followed the excellent things taught to them by their predecessors to live from art; they respect their teachers, but they do not die to learn from their masters, nor do they use the name of their masters to elevate themselves; they always follow their own love and ideals to engage in this art, and through continuous improvement and development to "earn fame and profit" for themselves.

Although they are old today, their artistic ideas are fresh and youthful; they still have all kinds of unwillingness for today's cross-talk, and for this reason they run and call in various ways to seek water and moonlight.

That's the pattern. The pattern of real cross-talk people is also the most lacking thing in today's cross-talk industry.

Text/Overflowing Water Co-ordinator/Liu Jianghua

Photo courtesy of Visual China