More than ten years ago, the Deyun Society was strong and strong, when the team was just popular, my friends and I went to the small theater to see the performance, Guo Degang and Yu Qian have rarely appeared here, and the bottom actors are He Yunwei and Li Jing. The traditional passages performed by the two of them are different, both the taste of traditional cross-talk and the characteristics of innovation, and the two people are good and evil, and the cooperation is quite tacit. Whether it is to praise Guo Degang or to He Yunwei, Li Jing on the stage always shows a chronic child who is always squeezed, and the stage image makes people both pity and love. In addition to crosstalk, Li Jing's allegro also played well, and she could see years of kung fu.
In the years when he Yunwei and He Yunwei both withdrew from the Deyun Society, the Starry Night Cross-Talk Hall they established was initially booming, and the past two years have been slightly silent. The audience saw that Li Jing appeared less and less on the cross-talk stage, and rarely cooperated with He Yunwei, but he often saw him playing a supporting role on the big screen.
In an interview, Li Jing, who is still big-eyed, does not shy away from talking about her actions in film and television, and he believes that cross-talk actors in this era should not refuse film and television. However, he has pursued some pursuits in cross-talk creation, and he believes that taking advantage of his youth is to create some new programs rather than sticking to traditional programs and eating old ones, which is the main reason why he has rarely cooperated with He Yunwei in recent years.
Li Jing and He Yunwei performed crosstalk
When he first left the Deyun Society, it was fundamentally due to the problem of the concept of creation, when he and his partner chose to quit, and a few years later, because of the concept of creation, he and his old partner quietly separated.
In addition to Li Jing, I also contacted He Yunwei through a friend, who did not give an interview. In recent years, He Yunwei has become more and more unclear to the audience, and he who has changed his name now sends almost every Weibo, which attracts negative comments. He Yunwei and Li Jing, once considered by the industry to be the most able to talk to young cross-talk actors, now the "He and Li Group" rarely cooperates due to the problem of creative concepts, which makes people regret.
Li Jing was interviewed. Yang Ming photographed
Interview with Li Jing
Li Jing: Born in 1978, from Beijing. Since childhood, he loved qu art, and later studied allegro books with Liang Houmin as a teacher, and learned cross-talk with his teacher Shengjie. In 1995, together with Guo Degang and Zhang Wenshun, he founded the Beijing Cross-Talk Conference, the predecessor of the Deyun Society. In 2004, he began to cooperate with He Yunwei and subsequently became one of the most popular cross-talk partners of Deyun Society. In 2010, he and He Yunwei quit the Deyun Society, and later founded the Starry Night Cross-Talk Hall. Representative works include", "Selling Cloth Heads", "Academic Commentary", "Fenhe Bay", "La Yang Film", "Four Famous Dan" and so on.
Interview date: April 16, 2019
<h1 class="pgc-h-arrow-right" > "My qu art foundation was laid down by Mr. Liang Houmin for me."</h1>
Q: Can you say that you are a cross-talk prodigy?
Li Jing: Don't mind. There are a lot of prodigies in the old gentleman.
Q: It is said that when you are 7 years old, you can say the "Pearl Emerald White Jade Soup" in its entirety, what does it mean to say it, not to paint it but to recite it?
Li Jing: Can perform.
Q: That's still a prodigy.
Li Jing: The first time I said it was in our school. I went to school at the age of 7, I entered school on September 1st, teachers had a networking event on Teachers' Day on the 10th, there was no other program, I don't know why our class teacher knew I would say this, so I was asked to say a little program. I said a paragraph of "Pearl Emerald White Jade Soup", 40 minutes, I was impressed that the effect was still very good. Therefore, the teacher was deeply impressed that I could perform cross-talk, and after a few days, the whole school held a general meeting and asked me to perform. I will have two paragraphs in total, one "Pearl Emerald White Jade Soup" and one "Oil Poetry".
Q: It's all Mr. Liu Baorui's.
Li Jing: The first thing I heard about "Oil Poetry" was Mr. Guo Quanbao's, and it was called "Eating Dumplings." I imitated the performance.
Q: The tone also imitates their tone.
Li Jing: Yes, but because I am young, some words do not understand what they mean, so there are also distortions and distortions. For example, there are two sentences in "Pearl Emerald White Jade Soup", the prefecture city government county posted the imperial list, briefly said that the small county where he fell was also posted the imperial list. "I don't quite understand, I'm talking about "pick up a half-cut.". But in terms of tone, I basically imitated Mr. Liu's tone.
Stand-up king Liu Baorui
Q: To reach such a level of familiarity, you have to listen to it dozens of times.
Li Jing: I can't get there dozens of times, because I had a good memory when I was a child, but I did hear it many times.
Q: Was it on the radio, or was it a tape?
Li Jing: Tape, just the kind of recorder that bricks, single card. The tape is just these two paragraphs, the front is "Pearl Emerald White Jade Soup", and the reverse is "Eating Dumplings".
Q: Just follow the tape recorder, no one has taught it in person.
Li Jing: No.
Q: The first thing you really learned was allegro, not crosstalk.
Li Jing: Right.
Q: When you were 15 years old, you studied Allegro with Mr. Liang Houmin as a teacher, and you had never learned crosstalk before that.
Li Jing: Not either. The earliest singing allegro is also self-taught, reciting these kinds of songs, book review, allegro, at that stage I am interested. Moreover, the class teacher in the junior high school stage gave me a task, that is, to use the 15 minutes of early self-study to celebrate the birthday of our classmates, and three years later, it means that each of these students has three birthdays. What are these 15 minutes for? At the beginning, it was congratulations and congratulations, sending famous sayings and aphorisms, three years are so boring, starting with the second year of junior high school, I changed to tell them books. At that time, the courage was also big, take this book "Water Margin", turn two articles and say two. At that time, I listened to Mr. Shan Tianfang on the radio a lot, and I imitated his tone to tell the students. Everyone loves to listen, and they don't let me rest at noon, and when the self-study homework is almost written in the afternoon, let me go up and say, even the cross-talk tape commentary is performed, but no one has officially taught it.
Q: Including allegro.
Li Jing: So is Allegro. I listened to a few recordings of Mr. Li Runjie, and went to the musical instrument store to buy two pairs of bamboo boards, one large and one small, but I bought them back. I practiced blindly with a board, occasionally catching up with the group mouth allegro on the TV, or seeing some videos of Mr. Liang Houmin, I recorded them on the video recorder and repeatedly watched how he played. Later, when I officially learned the Allegro, I learned that in fact, someone can explain clear things to you in person with a sentence or two, and you have to watch the video and think about it.
Q: So if you say oral transmission, just by looking...
Li Jing: Just look at it. Slow down the motion, no matter how slow it is, it is not right to think for yourself. And the old building in my house is not soundproof, the rhythm of my play is not right, it is very difficult to listen, and the neighbors have opinions for a long time. I took a leather band and tied a few pieces of the small board, and without making a sound, I practiced like this. That's when I was carrying The Carjack. When I was thirteen or fourteen years old, Teacher Zhang Zhikuan came out with a tape, a total of three disks, my plate was "Hijacking Car" on the front, "Male and Female Sword" on the back, and the tape was written on "Cast Sword". There are also two tapes, which record "Wusong Da dian", "Wu Song Da Hu", "Lu Da Zhi Ba", and "Wang Qixue Art". The Wangfujing Audio-Visual Bookstore was on sale, so I took my mother to ask her to buy it for me. She wouldn't buy it for me.
Q: She feels that this is not doing her job, and she is afraid of delaying her studies, right?
Li Jing: She does not oppose or support it, the conditions at home are not so generous, and three tapes are also a lot of money, so my mother said to buy one plate first. I bought the plate of "Carjacking", and I listened to what he said was different from Mr. Li Runjie. So "The Hijacking Car" and "The Hermaphrodite Sword" are my most porcelain Allegro book segments.
Q: What kind of opportunity is it to worship Mr. Liang Houmin?
Li Jing: My mother is a financial officer at Chongwen Automobile Factory, and the automobile factory has a connection with the Traffic Management Bureau. One year she was seconded to the service window of the Fengtai Traffic Management Bureau, during which she met many cross-talk actors, Niu Qun and Li Jianhua, she had seen, but I did not have the impulse to learn cross-talk with them at that time. But one day my mother said that she had run into Mr. Liang Houmin, and I was interested in Allegro at that time. In fact, I am not very good about Mr. Liang's appearance, but my mother's generation was very impressed with Mr. Liang, and during the Cultural Revolution, she often listened to his "Surprise Attack on the White Tiger Regiment", so she knew that Mr. Liang was a big name in the music and art world. My mother was embarrassed to ask someone to teach her, so she said if you have some tapes or something there, we can't buy them, can you borrow us to listen to a few disks? In fact, it's not that I can't buy it, it's that she doesn't buy it for me. Mr. Liang is particularly good at talking, and he is especially willing to inherit the art of Allegro, he heard that it is the child who usually learns this, so he said that he would bring this child to me one day to see. As a result, during that time, as a representative of Beijing middle school students, I went to Waseda Affiliated High School in Japan for a month, and when I came back, the phone number given by Mr. Liang could not be called, and I was contacted through the telephone office. I was so impressed that it was a Friday, and my mother took me on a bicycle, leaving from our house at 8:30 p.m. and arriving at his house at nine o'clock. Mr. Liang asked you what would you do, and I said I would "Hijack the Car." Sing two sentences and I'll listen. After singing a few words he said, OK, I see. He said that you have this mental rhythm, but it is completely wrong, you forgot everything, I taught it from the beginning. There was no tuition fee for the teaching of quyi, but he was in his 50s at that time, it was a time of busy business, basically every day there were performances, I went to high school to study more intensely, and I could only go once a week. At 4:05 p.m. on the same day, I rode to his house, and from five o'clock to six o'clock, I went home to write my homework. Every time he taught me, I practiced for a week and learned something new next week. The frequency of winter and summer vacations is a little higher, so I learned to play the board. Then he asked me which passage I wanted to learn first. He had heard many tapes for me at that time, all of which he had recorded himself, and Mr. Liang had a particularly good habit, which I later kept. For example, he has a performance tonight, and in the afternoon he records it himself at home, because you can always find faults when you listen to yourself, and many big artists dare not look at or listen to their own things. For example, once participated in the live broadcast of "Variety Show", he played "Wine Fan", he recorded three or four times in a row during the day, repeatedly adjusting the time of the program. You see Liu Hongyi also recorded "Variety Show", recorded "The Legend of Bao Gong", tired and breathless, that is because the live broadcast did not grasp the time. I listened to a lot of mr. Liang's recordings, "Wusong Dadian", "Raid on the White Tiger Regiment", large and small programs, and many new programs. He asked me which one to study first, and I said "Wusong Dadian". Mr. Leung said it was the hardest. But that's how I started. Mr. Liang told me long ago that you may not be able to do this in the future, but if you want to learn, you can study hard, so his positioning of me is professional standards and amateur actors. I first learned "Wusong Dadian", which had a good memory and memorized it in a few days. When I got to his house, I sang it again, and less than halfway Mr. Liang closed his eyes. Quyi actors must have a good psychological quality, and they can't be distracted when they perform on stage, and they can't act well after they have no bottom in their hearts. When I was a child, I didn't have such a psychological quality, and we called the opposite thief, and he saw that this was the most difficult to play alone, and I sang even worse later. After singing more than half a year, Mr. Liang said that he didn't have to sing, and started from the beginning. Then he told me sentence by sentence that he stood in front of me to demonstrate, and I stood behind to learn, and I roughly covered the work in the afternoon. The look, the tone, the big movements, were all standardized. It was during the winter vacation, when I got home, I really practiced hard, and the next time I went to that day, he went to Mr. Guan Xuezeng's house to play cards, and the two families were close, both near the Yangqiao. When I was about to arrive at his house, Mr. Liang came back on a small motorcycle, wearing a hat and goggles. I went upstairs and I did it again, and his eyes kept watching. Later he told my mother, and I really didn't expect him to remember most of what I said. Then he told me again. It took half a year to start learning "Wusong Dadian" here. Later, every time I began to study specially, such as practicing my mouth and practicing kicks, which were basic skills. Then I studied "Carjacking" again, learned The Moon, and studied "Wang QixueYi" for more than a month.
Q: The latter is relatively simple, right?
Li Jing: "Carjacking" is not simple, and later "Surprise Attack on the White Tiger Regiment" is also a little more difficult. These paragraphs are all learned, and it is fast to learn other things. Therefore, the foundation of my music art was all laid down by Mr. Liang Houmin for me.
In his later years, Liang Houmin performed the Allegro book
Q: If you learn from him at this pace, is it three years of high school?
Li Jing: It's the summer vacation of the second year of high school. I told Mr. Liang that the academic burden of the third year of high school was a little heavier, and I had to put aside nearly a year of allegro study, and he agreed. Later, after the end of the college entrance examination, I resumed my studies.
Q: Judging from your later cooperation with Teacher He Yunwei, there should be some passages in which you use Allegro as the content of the performance, right?
Li Jing: Yes.
<h1 class="pgc-h-arrow-right">
"When I was a child, my enthusiasm for saying crosstalk was rekindled"
</h1>
Q: Looking back, the experience of learning Allegro with Mr. Liang should have been of great help to your cross-talk performance later, right? For example, in the work, in the performance experience.
Li Jing: Mainly in the stage norms. Nowadays, many young cross-talk actors lack this basic skill training. Last year, the Central Radio held a cross-talk sketch contest, and it was the first time that it was titled with a national character. That is, the Central Propaganda Department asked them to resume several competitions, including the host competition, the song competition, and the dance competition, all of which were ready to be titled with Chinese characters, starting with the cross-talk sketch this time. We have participated in several planning meetings, the original cross-talk competition is to arrange answers, many teachers in the industry have mentioned the basic skills this time, calling on young actors to strengthen the basic skills. So later they designed a link, asked Sun Chen and Zhao Fuyu to come up with a question, asking the actor to complete a problem after the performance of the stage, saying and singing four types, each class of eight questions, such as asking this piece of tongue twister to be reasonably added to your work, six minutes to complete the performance. We all agree that this form is very good, and the leaders also think that this is both new and in line with the creation rules of cross-talk, and there are points to watch, if you are ready, it is more brilliant than living. This is for the actor to prepare ten days in advance, and it is enough to prepare eight paragraphs, not completely improvised. You see those old gentlemen, they have the ability to improvise this tongue twister. As a result, when the competition was recorded on the stage, the leaders saw the performance of the contestants and decided to cancel this link. The reason is that it takes too long, in fact, the players are not well prepared, which shows that the basic skills of young actors are too poor. In fact, there are several main structures of cross-talk, pad talk, scoop handle, positive life and bottom, scoop handle is actually referring to this, this kind of training should be there, depending on how you transition to positive life, a few words are very cleverly past, which tests the actor's language organization ability. Many actors now don't go through this necessary learning process. A sentence or two may have to regulate an afternoon, which is boring, but the process is needed. Cut the circle without spinning, listen to the recording a few times to enter the professional team, this is not OK. So back to the question just now, Mr. Liang's education for me, for the later I said cross-talk, storytelling is very important, helped me establish these stage norms, standing on the stage where the line of sight is, how to stand under the feet, how to do the kung fu in the mouth.
Q: It's all a rule.
Li Jing: Yes, these are also applicable to cross-talk, and the art of qu is interconnected.
Q: Did you switch from Allegro to crosstalk by participating in the Beijing Crosstalk Conference?
Li Jing: No. At that time, when I was a freshman with Mr. Liang, I said that I had to find a place to act. He made a phone call to Mr. Zhou Jianlun, who was an apprentice of Mr. Gao Yuanjun, who was in the Quyi Team of the Working People's Cultural Palace at that time. You must have heard about this music team, Mr. Ma Ji and Mr. Li Wenhua came out of there. There are all amateur actors, but they all have teacher-to-teacher relationships, and they all have quasi-professional standards on stage, and organize performances every Wednesday in the Palace of Culture. In addition, the Beijing Ququ Association has an activity called Quyi Home, which has performances in the small auditorium of the Cultural Affairs Bureau every Saturday, and the professional actors such as Teacher Liang Houmin and Teacher Guan Xuezeng are saved, and there are some amateur actors in front. I went to Teacher Zhou Jianlun, don't look at the workers' organization, I have to perform a priori field, just to see how I perform. I sang a passage of "True Feelings on Earth", Mr. Liang's work, and then I followed along. I followed the show every week, and I was exposed to cross-talk performances, and when I was a child, I said that the enthusiasm for cross-talk was rekindled. When I was a child, I listened to a lot of new crosstalk, and these old gentlemen said traditional crosstalk.
Liang Houmin, Li Jindou, Chen Yongquan and others performed makeup cross-talk, and the second from the right was Liang Houmin
Q: Who were there at the time?
Li Jing: There is Teacher Li Guishan's apprentice, Teacher Liu Younian, who has also passed away, Mr. Guo Quanbao's apprentice He Dequan, Mr. Zhang Xilin's apprentice Liu Qingfu, and the younger ones, Hou Yaowen's apprentice Liu Jie. I listened to these people talk about traditional cross-talk, and when I listened to their "Eight Fans", I realized that there were still "hun people" and "bitter people" here, and I usually listened to "reckless people". At the end of the freshman year, the Youth League Municipal Committee dispatched the literary and artistic backbone of the colleges and universities to go to Inner Mongolia to perform poverty alleviation for ten days, and also needed to be inspected before leaving. I prepared a period of allegro, and after the performance, I sat down at the bottom of the stage, and came a fat man, Wang Lei. The two of us are older on one side, I am the North University of Technology, he is the North Normal University. He asked me, have you learned this from someone? He introduced himself as Zhao Xiaolin's apprentice, and that day Wang Lei teased, and the one who praised him was Li Lin, and said a paragraph of "Rules". When we set off, we came to the bus and asked you if it was Li Jing, and then introduced it, it was Ying Ning. He said that Wang Lei had something to do temporarily, and he came to perform for Wang Lei. At that time, we were led by Jilin And is now the chairman of the Beijing Municipal Committee of the Chinese People's Political Consultative Conference, who was the secretary of the Youth League Municipal Committee at that time and lived in a house with us. After a few days of acting, Li Lin couldn't get on the stage because of his stomach, so in the second half of the journey, I first said a period of allegro, and then Ying Ning teased me and then said a cross-talk. The cooperation was not bad, and when we returned to Beijing, we often talked together, but after we came back, I began to tease YingNing. After a period of cooperation, many teachers said that whether you two are the head or the voice line, standing awkwardly, saying that it is more appropriate for the two people to ask high and play low, and it is more comfortable to listen to the teasing than the praise. However, Ying Ning begged Bai Lai not to be transferred, and he was used to it. Later, we still transferred, he teased me, and cooperated for a while, until the Time when Deyun Society performed frequently, Ying Ning stopped following me later, and left me alone.
In 2019, Ying Ning and Wang Yuebo performed crosstalk. Yang Ming photographed
Q: When you performed at the Beijing Crosstalk Conference, did you say that there were more Allegro or more crosstalk?
Li Jing: Both things come.
Q: Because there weren't that many actors at that time.
Q: Before that, you were systematics allegro for many years, after the crosstalk conference said that crosstalk became more, did you ever think about systematic crosstalk? Is there a need for this?
Li Jing: In fact, it is still what we just said, the foundation laid by Mr. Liang for me is already relatively solid, and I don't need to find a cross-talk teacher to learn from the beginning sentence by sentence. Moreover, I have experienced the process of performing at the Palace of Culture, and some teachers have solved the basic problem of cross-talk for us. At that time, we also stood there and said and then asked the teacher to give advice, and many old gentlemen told us to live. When I get to the cross-talk conference, the most I can do is to say which work I won't, find someone to read to me, how to make the baggage, I just ask. But after all, in the cross-talk industry, there is a need for a teacher to undertake the portal, and later in 2006 I only went to Mr. Shi. Before that, there were also some opportunities to worship the teacher but did not think about it, I grew up like Mr. Shi's artistic style, so I later worshiped him.
<h1 class="pgc-h-arrow-right" > "Mr. Shi Shengjie attaches great importance to the image of the performance"</h1>
Question: Before I visited Mr. Shengjie, did you ever think about who I was going to imitate as a critic?
Q: What kind of opportunity did Mr. Baishi have? When did you know him before that?
Li Jing: The first time I met was the day I visited the master. At that time, Teacher Guo, Yu Qian and he were relatively close, they said to you about Mr. Shi, see your grandfather and son this style is quite similar. It just went to my heart, and I said of course that's fine. Then to He Yunwei and their visit to the teacher, when I was still "introducing Bao Dai", I was still the first time I saw Mr. Shi. It was the end of September 2006, we were already on TV, and there were some works he had seen. When he met me, my name was Uncle, and he also said that today you are "introducing Bao Dai", and he said two polite words. Yu Qian said I told you about this, he went to talk about it, and after a while he came over and said that Mr. Shi had responded, and Mr. Shi said that he still had to ask the second and third masters. Because Hou Yaohua and Hou Yaowen were at the scene at that time, he said that he was a member of the Hou family, so he had to ask them. Then, during the meal, Yu Qian called us aside, and I called Mr. and Mrs. Shi as Master and Master. Later, Mr. Shi said that I was more strict in accepting apprentices, and I never accepted it at the first sight, but in the first six months I saw a lot of things from you and had an impression of your performance. At that time, I recorded five issues of "Old News and New Reading" for the Central Station, and used the way of commentary to say old news, and one issue also used allegro, similar to the later "Wang Gang Telling Stories", but much earlier. Mr. Shi had also seen that, so he agreed to accept me that day. On November 26th, the ceremony of worship was officially held.
Shi Shengjie and Yu Qian performed cross-talk
Q: Does Mr. Shi have any comments on your performance style?
Li Jing: No. I can't talk about any style, but the last time our brothers gathered together, he also said that he may also be the reason why he has not had a match for many years, he has been taking apprentices for such a long time, he may not have thought of using a pair, and when he cooperated with Feng Yongzhi, he also said that we would cooperate for several years. Even the later cooperation with Mr. Shi was also because Mr. Hou Yaowen was gone, so he had time to take apprentices one by one.
Q: When you say "belt", you mean to carry a performance.
Li Jing: Yes, when you give him a hug, it's basically our praise. I have the impression that Mr. Shi has praised two people, praised Dejiang, and praised me. In December 2006, he called me, have you ever performed in Europe? I said no. He asked, then what are the arrangements for this Spring Festival? I said that there were commercial performances in Tianjin on the third and fourth days of the first year every year, and he asked me if I could discuss going to Europe to perform together. I told Deyun That the opportunity was rare, and that I wanted to go to a European performance, so I approved it, and I cooperated with Mr. Shi. At that time, most of my performances were in small theaters, and I didn't have much experience in performing on TV stations, and I didn't have too clear concepts about the requirements for stage image and costumes, so I went out with Mr. Shi to perform and slowly gained this awareness, and Mr. Shi attached great importance to the image of the performance. Bring a few clothes, what kind of clothes to bring, change clothes according to different theaters, and now I have formed this habit. Even my assistant knows, I have a temper you can see, basically do not get angry, they make some mistakes to change other actors have long been turned over I am not angry, the only thing is that you dropped my costume on the ground, I am anxious with them. Mr. Shi has a very important influence on me in this regard. In addition, he does not have to guide me sentence by sentence, I stand on his side when performing on stage, and it is a kind of learning to see how he performs at close range.
Shi Shengjie and Li Jing performed crosstalk
Q: Mr. Shi's performance occupies a "handsome" word, after close contact with him and the previous impression of him, how is it different?
Li Jing: There is nothing different, his feeling on the stage is the feeling of life, but I drink alcohol is trained by him.
Q: Yes, they all say he loves to drink.
Li Jing: This is also a special case. That day, after calling Master and Master, he asked me, how about tobacco and alcohol? I said that cigarettes are not smoked, and alcohol can be drunk. I knew he loved to drink, but I didn't drink at the time. I said, I can accompany you to drink a little. He said, that's OK. Later, I always drank with him.
Li Jing and Shi Shengjie
<h1 class="pgc-h-arrow-right" > "I don't reject film and television, but I never give up crosstalk."</h1>
Q: When you participated in the founding of the Deyun Society, and after you left, you founded the Starry Night Crosstalk Club, and in our opinion, you did not deliberately strengthen your leadership position in this team, which is directly related to your own personality being relatively low-key, right?
Li Jing: Our original intention in establishing this organization is like this, and we need to work together.
Q: It's not about highlighting a certain corner.
Li Jing: Yes, it is not of this nature. Many of us are fa xiao'er, Wang Yuebo, Xu Deliang. In 2001, when I won the first prize in the Allegro Competition, Xu Deliang was a newspaper reporter at the time, and he came to my house to interview me. At that time, I didn't know that he learned cross-talk when he was a child, it was a reporter, you should ask it, and as a result, he knew everything when he spoke "Full of Spring and Full Of Classics", and I knew that he also learned cross-talk and single strings when I asked. Those of us who get together are clubs in nature, unlike private groups like Xiaopan, it is okay for our team to go to other places to help others perform.
Early cast of Starry Night Crosstalk Hall
Q: The team organization cannot be said to be loose, but the actors are relatively free.
Li Jing: Yes, the nature is here. Each of us has our own unit, and the unit has tasks to participate in.
Q: Is it because of this nature and organizational form, when we usually talk about the Starry Night Cross-Talk Hall, we feel that it has been developing relatively smoothly over the years, but it seems that there are not too many big reds or highlight moments, more of a stable development, is that right?
Li Jing: I didn't say what to do here, but sometimes it is necessary to carry out tours, and it is unrealistic to use the personnel in the regiment to organize, and the mechanism of the state-run academy regiment is still not so flexible, so I will organize it in the name of starry night, and I will be financially free. There is not much power, and now the state-owned theater group has also strengthened the management of actors, and you are not allowed to put too much energy into performing outside the theater group.
Q: Among the young cross-talk actors of your age, you are more involved in film and television performance, which can be said to be a multi-habitat development, how much energy do you think cross-talk actors should invest in movies? How do you weigh these two priorities?
Li Jing: I think we have to do this in this era. Take the old gentleman, at that time, they made some anti-string plays during the New Year's Festival, why did he cooperate with Peking Opera? In the form of entertainment in those years, Peking Opera was a large volume, just like watching blockbusters now. Mr. Ma Lianliang's ideas in the 30s were so advanced, that is, the blockbuster of that year, which was a large volume in that year. Now the volume of Peking Opera is still there, but the volume of film and television is much larger, and you can't spend a hundred million for a Peking Opera - of course, it can be bad, but we can't use it from a professional point of view, and it can't be used to cross-talk. If you don't cooperate with large-scale art, and keep it in a small volume, you won't shoot with the times. And more cooperation with large-scale projects, you meet more friends, as well as various observations after dinner, the way of thinking about operations and other issues, will be different. Some people are not adapted to this, filming film and television dramas only shoot for four hours but have to wait for eight hours, impatient temper can not wait, there is this time I said that the cross-talk platform said 20 minutes have long been finished. I think cross-talk actors should not exclude film and television drama performances, in the past, the old man rehearsed dramas or something, that is also to increase their own volume. Now let's do a cross-talk business performance, a gymnasium, ten thousand people, how much can you sell? Isn't it also limited?
Q: Did you set yourself a goal for film? For example, how many box office do you create in what movies you starred in, and you became a movie emperor.
Li Jing: No, just go with the flow. I have not had any special plans for so many years, what kind of films I make every year, but I am still relatively lucky, from the beginning of contact with movies to now, the team, project, director, and especially director I have met are particularly good, which is of great help to me, including Du Qifeng. So I can't say that the acting is good now, but I can successfully complete a role, so that the audience can see that there is no trace of crosstalk, not according to the path of crosstalk.
Li Jing starred in the movie "Drug War"
Q: Did you deliberately not specifically pick some comedies and comedic characters?
Li Jing: That's right. Last year I cooperated with director Mao Weining on a TV series, this month will be broadcast soon, he asked me to act twice, both picked me to play the villain, this time also, there are scars on the face, continue to do drug trading after releasing. The main actor is Chen Xiao, who plays the policeman, and the back is basically the opponent play of the two of us. Director Mao said to me, you just want to play a character that is not a comedy first, you accumulate the performance to a certain extent, go back and play a comedy role well, if you always play a comedy role, play a positive role, the audience is difficult to adapt.
Li Jing starred in the TV series "Settle Down"
Q: For example, Liang Tian.
Li Jing: Yes, Liang Tian is like this, (in "The Year of the Dragon Police Officer") The audience laughed at the glorious sacrifice of his police role, and he didn't look like a policeman.
Q: If one day you act in a movie and win the grand prize, such as the unknown Tsang Mei Hui Zi suddenly became a Hong Kong Film Awards film, if you became a film emperor of a big film festival, is it possible that you will not talk about crosstalk in the future?
Li Jing: No, no, no.
Q: Xiangsheng will definitely say that it will not only engage in film and television performances.
Li Jing: Yes, since childhood feelings have been here. Let's say that I am now, the main body of income does not come from crosstalk, and I just said that the volume is different. Although my cross-talk income is still higher than that of some cross-talk peers, it is still low compared to my entire income, but I will not give up cross-talk. I've been working on new works, and I have two books that I'm going to use this year.
Q: Will film and television work take a long time and have an impact on your cross-talk creation and performance?
Li Jing: I think it's okay, reasonable arrangements can be made. I don't shoot all year round, there is no drama for a month or two, I quickly find someone to discuss the creation, find a theater to practice, and roll the work into a semi-finished product. There is always a gap between the two scenes, so time can be coordinated.
<h1 class="pgc-h-arrow-right" > "We only have good programs, no masterpieces"</h1>
Q: Tell me about the labeling of cross-talk actors. You are a relatively distinctive label of cross-talk actors, everyone knows that you have big eyes, slow temperament, slow speech, this kind of labeling, on the one hand, can make the audience quickly remember and like, on the other hand, is it also a restriction on your performance style?
Li Jing: I don't think this is a restriction. What state the cross-talk actor himself is, he uses what state to perform, so there is no genre of cross-talk, but there is a inheritance and a clan room, and there is a typical artistic style in this clan room, but it does not mean that a school of art has been formed. Because everyone is different, the appearance, speed of speech, and voice are all different, it is not feasible to learn who to learn according to the genre of Peking Opera. My chronic son is not a hot temper under the stage, and when I go to the stage to become a chronic child, this is how I live, so I think this label has no impact on the performance. Why do some works become the masterpieces of an actor? Some traditional passages everyone will, why everyone recognizes the best, because his performance is like the character in the work, if it does not meet the character, it will be half the work, you may be able to complete it, but you are not as comfortable as he looks. Gao Feng originally acted in "PullIng Foreign Films" to let people blow down, and after coming down, I said to him, you shouldn't do this job, are you like the person who beat people? You also hit one that is stronger than you.
Q: Your character is set up here, and the characters can't deviate too far.
Li Jing: Yes. It doesn't matter if you are strong, Mr. Ma Zhiming also acted in "La Yang Film", The image of Teacher Huang Zumin is very thick, like being angry, but the peak is Li Gen (cross-talk stage name Li Yuntian), Li Gen looks more clever than you, can he let you beat it? So it's impossible to convince the audience. In the past, the old gentlemen were also like this, to a garden, the first month everyone performed everything, after a month there was a division of labor, these ten lives belonged to you, these ten lives belonged to me, do not move each other, which work who is suitable for who to act, inappropriate we do not waste this thing. This is the old gentleman's art.
Q: Mr. Hou saw that there was a work that others said very well, so he told his partner that we would not move this piece of work.
Li Jing: Yeah, that's it.
Q: You are a college student, and you are relatively highly educated among the cross-talk actors of your age. Now the young actors in their 20s are constantly enriched with highly educated actors, and there are several doctors, how to see this phenomenon? For example, Li Yinfei, and Dr. Li of Shanghai Jiaotong University.
Li Jing: Improving academic qualifications is a good thing. Mr. Liang Houmin was a college student at that time, and it was even more rare in that year. Today's university education is basically quality education, the vision is not the same, the concept of art is also different. Saying that crosstalk does not need too high education, it requires you to be diligent, many old gentlemen have not read any books, but he reads a lot of books, which is also OK. Now young cross-talk actors also have a little lower education, learning is not very good, some people rao is low education he does not go to school, this is a very fatal thing. Whoever said that I copied it, according to my own understanding, change it, add two baggage to go up and say, this will be very dangerous.
Q: An old gentleman said before that he does not say confused crosstalk, and with a high degree and you can work hard, is it more conducive to actors not saying confused crosstalk?
Li Jing: Yes, after studying for so many years, you have developed learning habits, there are learning skills, and you have the ability to understand, and what the teacher says you can quickly grasp the true meaning. I am studying management, and the discipline of management and the discipline of cross-talk have nothing to do with it, but the formation of quality can be used in cross-talk work.
Q: That is to say, these cognitions may not be directly used for what to do, and learning attitudes and habits can benefit your cross-talk career.
Li Jing: Yes, it helps creation.
Q: Today's young cross-talk actors still lack the creative ability.
Li Jing: Anyway, I think it's time for crosstalk to call for works again. In 2012 and 2013, Mr. Shi told me that you and Xiao He must work hard to get a decent new work, and now there is no decent new work, you can go up to a higher level if you make one, whether it is good for you or this industry. But, for various reasons, we didn't figure it out. By 2014, Xiao Miao (Miao Fu)'s "Full Belly Jinglun" became a hit, and Mr. Shi said you see, I let you not get it, and people came up the steps with a cross-talk work.
At the 2014 Beijing Spring Festival Gala, Miao Fu and Wang Sheng performed the cross-talk "Full Belly Warp"
Q: From the perspective of the platform, in the 1980s, Teacher Jiang Kun said "Tiger Mouth Reverie", became, said "Elevator Adventure", became, Teacher Ma Ji said "Five Senses Contending for Merit", became, then there was a CCTV Spring Festival Gala such a recognized platform for works, and now how to call a work into it? The small theater performs more, and the CCTV Spring Festival Gala is unlikely to produce the influential works of that year, is it more and more difficult to become now?
Li Jing: "Full Belly Jinglun" is through the Beijing Spring Festival Gala.
Q: So there's still a platform, and it's not okay to go through the network alone, right?
Li Jing: It is also okay to spread the fire through the Internet, and it is okay for the Internet to spread the fire. That year, there were no particularly wonderful language works, and "Full Belly" came out.
Q: Yes, this Beijing Spring Festival Gala crosstalk is more popular than the CCTV Spring Festival Gala that year.
Li Jing: The current platform is still a big platform, why are many actors still willing to go? From the publicity, the TV Spring Festival Gala is far from the influence of that year, but the skinny camel is bigger than the horse, if your work is good enough, there is still a chance to be remembered by the audience through such a platform. In the past CCTV Spring Festival Gala, 28 songs and 20 capitals can sing fire, ten sketches can be spread, and now basically can't remember, but you have a really good one it can also spread. There are many ways, and there are many possibilities on the Internet, but you must first have good works.
Q: When it comes to your and Teacher He Yunwei's masterpieces, what do you think? You guys have fewer new works and more adaptations of traditional works, right?
Li Jing: According to what I said, there is no masterpiece. If you want to talk about allegro, I dare to say that I have masterpieces, saying that we can perform traditional cross-talk programs very standardizedly, that can only be called a master program, "Learning Four Phases", "Pulling Foreign Films", but this cannot be called a masterpiece.
Q: The masterpiece must be his own work, the premiere.
Li Jing: Yes, it must be your own, premiered, influential, and able to clearly reflect your own artistic characteristics and style, which can be called a masterpiece. To say that we deduce on the basis of our predecessors, it only has our own characteristics, but they are not masterpieces, none of them.
During the Deyun Society, Li Jing and He Yunwei performed cross-talk
Q: It is reasonable to say that you are already considered a leader, and if there are no representative works, it means that it is difficult to produce recognized good works now.
Li Jing: It is difficult to get out, but we have to work hard in that direction, and we can't stop it because it is difficult. It is also true that it is difficult to get one, like this one I am getting now, not to mention what it is, until now intermittently for two months has not produced a draft I think I am satisfied. Everyone thinks it is good when they mention it, and they are not satisfied with how to really fall on the text. But the requirements can not be lowered, can you act? Can act, but far from imagination.
Q: Now that there are many actors who usually perform in small theaters, do you think some people are already satisfied with saying these traditional passages? I don't create new ones, I don't need any masterpieces, anyway, people watch them every day, there are people clapping, and some fans, is there such an actor?
Li Jing: Of course there will be. This is a pattern of the problem, I think we must have a sense of distress, listening to cross-talk is easy to produce aesthetic fatigue, the general audience is not a senior cross-talk enthusiast, he is not from your artistic position, performance technology and the performance style of each pair of actors to appreciate, a work performed ten times, he is not happy after watching it. The traditional program can still be performed for about 100 paragraphs, and he will not watch it for a few months. Over the years, the small theater has changed many audiences, and now there are still a group of people who do not pay attention to art at all, but go to...
Q: Look at people.
Li Jing: Yes, look at people. That can't last long, can only say that the senior cross-talk audience can fall, this is a minority, don't care whether you watch people or watch the program alone, this can't be stopped. Look at people, the actor is a few years older, has a girlfriend, is married, the audience will not look at him, right? If he doesn't enjoy watching the show alone, he won't watch it. Actors can't say a few years without new content to add. In the past, old gentlemen always said this, a book garden, a cross-talk garden opened next to each other, cross-talk side will be the first fire, the book critic side of the half-hall people. Two years later, half a hall on the cross-talk side, the storyteller side can not squeeze in. There are new ones every day on the side of the book review, and I have heard enough cross-talk.
<h1 class="pgc-h-arrow-right" > "I and He Yunwei are basically not cooperating now."</h1>
Q: Tell us about your partner, Mr. He Yunwei. You've been partners since 2004.
Li Jing: The official start of the partnership was in 2004, and there were also individual cooperations before that.
Q: What is the main reason why you have been able to stand out from many cross-talk actors on the team?
Li Jing: On the one hand, it is to work hard. We were very efficient back then, and we were going to do one or two new productions a week, and of course I was talking about traditional shows that neither of us had ever performed. For example, after this week's performance, the two of us will discuss it, and next week's "Haunting the Court", the premise is that the willow work here has been mastered, and it will definitely be too late to learn to sing that week. You said who said the version, I heard whose version, determine a blueprint, go back to see each other, to the next performance in advance to touch, there is. In addition, before going on the field, we must discuss it, and we can't completely follow the words of others, and there must be differences in individual places. The earliest works are not too porcelain, plus some things that collide on the stage, slowly fixed, and finally become your more porcelain works.
Q: That's a really fast pace.
Li Jing: Yes, we just work harder than other partner combinations. Whether Xiao He is still working so hard now I don't know, he really worked hard. For example, today he wants to perform a passage in which there is a mouth, he came out of their home back to the Dragon Temple and sat in the car, he chanted this mouth, chanted countless times, and then performed it on the spot.
Q: Some people have also said that Mr. He Yunwei and you are the most able to speak crosstalk among your young cross-talk actors. Evaluate Teacher He's words, on the one hand, he has this talent, and on the other hand, he is really good at this, right?
Li Jing: He is good at this, he first liked Peking Opera like crosstalk, and now it is, so he loves to sing. However, singing this aspect is really inspired by Teacher Guo, the earliest he said most of the programs, once "Report the Name of the Dish" said that the fire let him go back to the scene, when he sang a white Pai Jing rhyme drum, after playing this he dared to sing slowly on the stage, before he sang offstage did not dare to take the stage to perform. In addition, Xiao He's comedic perception is more correct, and he himself has a natural sense of comedy.
During the Deyun Society, Li Jing and He Yunwei participated in the program together with Guo Degang and Yu Qian
Q: I find that you sometimes deliberately laugh out like a laughing field, is that called baggage?
Li Jing: It wasn't intentional, it was all an emergency.
Q: It doesn't look like a stage accident anyway. You just said that you don't know if he can't work hard now, what kind of cooperation is the two of you now?
Li Jing: Basically, there is not much cooperation.
Q: I see that he has often gone out to perform with some theater troupes lately.
Li Jing: Which academy group to follow? The two of us are in a courtyard group.
Q: It seems to be some condolence show.
Li Jing: That's his own condolence performance, and he now prefers some public welfare undertakings. But he is not with our academy group, we are both in the Beijing Quyi Troupe, and we perform together when the group has some tasks. This year's Beijing Spring Festival Gala we performed one together.
At the 2019 Beijing Spring Festival Gala, Li Jing, He Yunwei, Cao Yunjin and Liu Yuntian performed a group of cross-talks
Q: The four of you.
Li Jing: That is also the leader's request, anyway, now basically do not play together.
Q: I don't know if that's a pity, but the two of you have worked together for so long.
Li Jing: It's a pity to say that it's a pity, but I think it's not a pity in the long run, why? Maybe the artistic pursuit is different. I want to create new things, Teacher He is like the kind you just said, I will do this work now, I am enough, you let me go to a new job I don't want to. The reason why there are some problems in cooperation, I look for the author to make a new book, to him to fool you after the show and waste this idea, this work did not stand up, which means that the efforts in front of people are blind, and he does not have the consciousness to put it in place. He wants to be placed in the can be placed out, we participated in the "I want to be happy" that year, is not it also our own home? After we said that it was completely different from Teacher Guo's style. We lined up more than a dozen times a day at that time, and now you give this book over, and he reads it twice and goes on stage with experience and snorts, which is not what it means.
At the 2005 Beijing CrossTalk Sketch Invitational Competition, Li Jing and He Yunwei performed "I Want Happiness"
Q: He is more fond of traditional works.
Li Jing: Yes, but this is not a long-term solution. Of course, you will not be unable to do these traditional works, but you say that you will act this in your lifetime, and you will not be able to do it.
Q: In this case, crosstalk will lose its vitality.
Li Jing: Yes. I always say that the two biggest functions of traditional life, one is that when you study, you grasp the law of organizational baggage through it, learn how to say crosstalk, and then there is its main function is to provide for the elderly. For example, Mr. Li Boxiang, he is all this age, is it possible for you to let him go to a new job? Even if he wants to be on him, he can't remember it, what if he still wants to perform, just play these traditional passages. Teacher Chang Guitian, 70 years old, wants to get a new job, what to do, let's put together "Talking about the Four Books", and "Bell Score", you let him play a new paragraph related to the Internet, he said that it is not like ah.
Q: By that time, the audience's expectations were different, and it was already very satisfying to meet these old actors.
Li Jing: Yes, they can also show their skills by acting in some traditional things, which is very good. Therefore, this tradition is used at both ends, and it cannot be held in the middle.
Q: Your idea is good. I often think, like Teacher Jiang Kun, when they were young, they basically said that they were new works, traditional cross-talk efforts are not particularly much, and the scenery is infinite when they are young, but now this age is indeed more embarrassing, what works to say? Saying that the old passage is not porcelain enough, saying that the new paragraph is not very realistic.
Li Jing: Mr. Shi is also, he produced so many new works when he was young...
Q: The Adventures of the Little Shoemaker or something.
Li Jing: Yes, when you are older, you will say "Shandong Erhuang", "Miscellaneous Singing", "Xueyue Opera", a white hair and a coat, the audience feels very heavy, so these jobs should be used at this time.
Q: When you are young, you should write more and perform more new works when your creativity is strong.
Li Jing: It is absolutely impossible not to write new ones. You see Yue Bo also does not like to get new works, I especially love to raise this bar with him, do you not get new lines of storytelling, you say this paragraph every day? So you have to get a new one.
Q: So if you usually want to talk about crosstalk, who is your current partner?
Li Jing: There is no fixed partner. I give Zhang Tianlei and Guo Tianyi a hug, but they have their own fixed partners, I can't destroy people's cooperative relations for a long time, now there are some new works I let Jia Xuming get, and we have cooperated on several new works.
<h1 class="pgc-h-arrow-right" > "it's terrible to lower the artistic bottom line within the team."</h1>
Q: Tell me about the little theater. Whether you have been deeply involved in the cross-talk conference or the Deyun Society, you have brought up the small theater cross-talk, and the whole country is also blooming everywhere, but now it seems that some small theaters are doing well, but some are not too good, and some are even very bad...
Li Jing: Where do you say it is doing well?
Q: That can only be said to be the Deyun Society.
Li Jing: Let's talk about a theater, we are both scalpers, we bought all your tickets, and your performance was sold out on the Internet. The two of us take this ticket, you want to see, 80 tickets sell you 120, there are a few spent 120 to buy, he calculated enough, actually there are still half of the tickets in his hand have not been sold, you enter the theater to see, in fact, half of the people. Do you say this can be called fire? This state is the norm. This industry can't carry so many practitioners, if Beijing only has two or three fixed gardens, it may be able to do a very stable job, now there are too many gardens.
Q: The cake isn't that big.
Li Jing: Yes, I think so. Some people have calculated that there are thousands of cross-talk practitioners now, and the scale should not be so large.
Q: You also said that Mr. Shi told you to strengthen the creation of new works, in addition to this, what is his evaluation of the current situation of crosstalk?
Li Jing: I haven't talked about it on a topic, or it's a creative problem, and there's also a team problem. The professional quality of the team is improved a little, the creative concept is controlled, and the bottom line given to the audience on the stage is unified, so that crosstalk can maintain healthy and sustainable development. Lowering the artistic bottom line within us is a terrible thing, and I can guarantee that I won't say it, but I can't control what others say. Only if everyone does not say that the audience cannot hear messy things anywhere, can the industry as a whole move forward. Everyone knows what the strong stimulus thing is, the audience feels addicted to hearing this, and then listens to something else, which is not happy.
Question: Talking to Teacher Zhao Fuyu about this issue, there are some things that I am not used to, but these people point to this meal and perform every day, is this an inevitable stage? For example, some people say, young people, you say this first, and then you will return to the fire.
Li Jing: The key thing is fundamentally a vicious circle, if it is a virtuous circle, the speed of cultivating actors cannot be so fast, from 100 cross-talk actors to 1,000, which leads to the basic skills of actors are not solid. The two months will go on stage to earn money, there will be less, it is bound to cause a period of time to say, through the mouth and learn to sing are not good, you have to add some messy things. In that one team, he added me and I did not add, I worked harder, the audience loved to listen to him I was unbalanced, go to his bar I also added, which formed a vicious circle. My experience you also know, after several years of studying allegro, there is no chance to go on stage, and once in a while it will be very cherished, and it will let you play one paragraph in ten paragraphs, and it will be different from a paragraph that can only be performed every day.
Q: Based on such a current situation, what do you think the future development of cross-talk will look like? Will there be a big change in the way you perform? Are you optimistic or pessimistic?
Li Jing: Mixed feelings. I think there may be a day when, whether from the appreciator or the practitioner to a normal category and rational range, some unqualified practitioners leave this team, and the people who really have the basic skills can still do a long job stay, or say well, those who love to listen to the messy content of the audience will no longer listen, leaving a team of audiences that can be normal aesthetics. This is of course the best, and it is what we most want to see, if we can't control it in the long run, it is likely to be like Mr. Hou Baolin said...
Q: It's what they threw away that comes back.
Li Jing: No, if that's the case, stop calling it Xiangsheng, you change another name, a new art form is established, and Xiangsheng will perish. But you can't say that in the name of cross-talk, it deviates from the connotation of cross-talk art.
Q: Do you think that in this era and the next stage, is it inevitable that the entertainment of crosstalk will be enhanced?
Li Jing: It's a direction, but all the programs have become like this, so we don't have much creative theme. Isn't it good that the old man is like Mr. Ma Sanli's depiction of the small people? There is no sarcasm of anyone, but looking at the people and things around them, such works are now too lacking.
Q: In the cross-talk sketch contest you just mentioned, Teacher Jiang Kun also talked about this issue when commenting on the spot, he said that many of the works you say are the actors' own affairs, and they rarely pay attention to the reality of life. Do you think that this situation is that the actor is lazy, or does he lack the ability to do so, or does reality not allow the actor to create this way?
Li Jing: I think as long as you find the right point, it is no problem, that is, the kung fu has not yet arrived home. For example, I really go to the grassroots for some days - but I can't do it now, but we should all work in that direction, because the old gentleman creates works like this, stay two more days, ask more people, maybe which sentence will be useful.
Q: Now in terms of time cost and cost in all aspects, it is not allowed, right? Teacher Zhao Fuyu said that they went to the army to engage in creation for two months, and some works were created by hearing a key sentence of the soldier and getting inspired.
Li Jing: But the TV series can be, such as starting after two months, these two months I don't do anything, I carefully prepare this role, body shaping, and for example, I play a Chinese medicine doctor - that "Old Chinese Medicine" is also filmed by director Mao Weining, the actor really wants to go down to life, go to the old Chinese medicine doctor's home, go to the old Chinese medicine ancestral hall, and look through some historical materials. It's worth doing this when making a TV series, for example, for half a year, because the revenue is there. Xiangsheng has this problem, you really spend two months to go on, what about this source of life?
Q: And whether the work will eventually succeed is not yet known.
Li Jing: There is also a problem of plagiarism. Now there is no cost in plagiarizing a paragraph, and you simply can't control others to copy it. It turns out that there are mutual references in the cross-talk circle, for example, Fan Zhenyu told me that he thought that Ma Ji's "Hundred Blowing Pictures" was good, and when he performed, he said to Ma Ji, you give me the "bragging" paragraph. Ma Ji said well, and then he told Wang Jinbao that you would copy a copy of it for him at night. This work was given to "Gao Fan", who changed it according to his own style and took it to the stage. There is no fee or anything.
Q: At that time, there was at least one rule, a rule.
Li Jing: Right. Also, Mr. Wang Changyou wanted to learn Liu Baorui's "Article Meeting", in fact, the two had a particularly good personal relationship, but he went to the audience to spend a piece of ocean point Mr. Liu's paragraph, turning the day and pointing, every day, a few days later Mr. Wang learned. One day Mr. Wang went backstage and said, Baorui, I will read you a live passage for you to listen to. After learning this, the two of them had a lot of fun. Or, the two of you know each other who your apprentice is, who he is, and the two of you have had a relationship, and the next day he didn't say hello and used a burden from you, but looking at the friendship of the previous generation, this matter has passed. Now many times this person you don't know at all, and you don't know who copied the baggage away, there are too many practitioners to recognize.
Q: Let's talk about allegro. We all know that cross-talk has been relatively lively in these years, and the development opportunity of Allegro is not very good, at least it is not easy to get recognition in the market, what do you think is the reason? Compared with crosstalk, Allegro is less likely to be revitalized, isn't it?
Li Jing: No, no. Allegro is a very mass-based form of music and art, the mass base is better than cross-talk, and there are more old men playing allegro in the park. The main reason why Allegro has not developed in recent years is that its storytelling methods are not so advanced. Just like storytelling, storytellers prepare so many things and put a lot of effort into it, but its form is not the most advanced, so many people in the current environment will not pay attention to you. Big platforms are also unlikely to give you that much time. We have been discussing this problem with people, how to give the narrative method to break it, but the path we have not yet found, if we really want to find it, we may encounter doubts. Just like the cross-talk of that year, was it not open-minded at that time? It's not like TV crosstalk, it's said slowly. Of course, allegro children will not disappear in the future, and now many primary schools arrange such classes, and many children follow suit, and they can still resonate when they see this form in the future. Now someone is looking for something I want to shoot some short videos, it is very likely that I will use the allegro, sing some new content, attract more people to pay attention to the allegro, return to the theater and I will sing to you for a while.
"Leaving Deyunsha is due to differences in creative views"
Q: If you don't mind, let me finally ask another question about Deyunsha. You are the elder of the Deyun Society, have you ever thought over the years, if you have been staying in the Deyun Society, what will your development look like?
Li Jing: It won't always be, because here is a divergence in creative views. Everything else is easy to solve, the money thing, less than send me to play two, this is not a big problem. In terms of creative view, you will feel very awkward in this atmosphere.
Q: Are they traditional?
Li Jing: It's not partial to tradition, one sentence or two sentences are not clear, anyway, it belongs to the concept of creation.
Q: That said, it's not a simple problem that many teams have faced that can share hardships but are difficult to get rich.
Li Jing: Hmm.
During the Deyun Society, Li Jing, He Yunwei and Guo Degang were together. Behind them is Tao Yang, stage name Tao Yunsheng
Q: Let's evaluate Teacher Guo again, about his cross-talk performance and other aspects.
Li Jing: Don't comment on it, I have had TV interviews before, that is, those two sentences. Have they been commented on by others?
Q: Some people start commenting without waiting for me to ask myself.
Li Jing: Nothing new, or those few words. In business, he is a very diligent person, which is worth affirming, he usually looks good about many things, his education is not very high, but he reads a lot of books. This is what I just said, the academic qualifications can not be high, but if you don't learn anything in school, don't read books, it's terrible to still be in this line. He reads a lot of books, you see him write something, the writing is very good. And then he can produce some new things all year round - of course, the quality of art, let's just say, it is good to have this momentum. In addition, you said that he will not manage, including the human aspect, we will not comment.
Q: You and he can't get to the point of not getting along now, can you?
Li Jing: I basically can't see it.
Q: Then there is no such thing as a future reconciliation, or is it just going on?
Li Jing: That's it.
Q: Nothing is wrong with each other.
Li Jing: Did you say that it was called a rupture back then? I just left, but with Teacher Guo's personality, there was no good way to go. Even if we both sit here and talk about everything, there is no good fit, he has this personality. So at that time, I just said that I was leaving, and I was willing to do something my own.
Q: Then to ask again, do you think that your current state is almost in line with the vision of the future when you left Deyunsha in 2010?
Li Jing: Basically coincided. My judgment on the future of the small theater and the cross-talk garden at that time was basically in line with the current situation. When my team was first established, some actors said that you arrange more performances, arrange one more performance, and we will perform more, and this month's vegetable money will be spacious and spacious. I said that I can't act more, too many audiences are tired of aesthetic fatigue early, I will keep my performances on the line, the garden of daily performances will first encounter problems, you see that this is actually the case now.
Q: How many fields is "Starry Night" now?
Li Jing: Two.
Q: The earliest in the new capital?
Li Jing: The earliest new Dadu, now one in the Lao She Tea House, one in the Hopson Hui Theater, and now each garden performs once a week. New actors can act every day, and when they act until a certain time, they are tired every day, or concentrate on maintaining a good state.
Q: Actors have to maintain a certain sense of excitement.
Li Jing: Yes, casually saying on stage, it is not responsible for the audience, it is not good for the actors, and it will be abolished for a long time. An actor who has been talking about the small theater day by day for many years, after he is fifty or sixty years old, what state do you see him in? You also have to control the rhythm, you can't act every day.
Note: This article was originally published in the 1904 issue of The Reading Library, with slight changes this time. Unless otherwise noted, the pictures in this article are from the Internet
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