Cross-talk examination: The fourth brother of Hou Men En's brother Ma Ji six
1934.8.2-2006.12.20
Ma Ji, formerly known as Ma Shuhuai, is a native of Baodi, Tianjin.
Regarding Ma Ji's origins, the materials seen say that he was born into a merchant's family, but his family was ordinary. The reason why he embarked on the cross-talk road was because he was a classmate of one of Chang Lian'an's relatives, so he often went to the Qiming Tea House opened by the Chang family to listen. Around the age of 1947, he was sent to Shanghai Hongde Weaving Factory as an apprentice at the age of 13. After liberation, the weaving factory broke up, and Ma Shuhuai returned to Beijing.
In 1951, Ma Shuhuai, who returned to Beijing, was admitted to the North China Distribution Office of Xinhua Bookstore and began a book selling career. In his spare time, he spends almost all his time talking and singing Peking Opera.
At the beginning of 1956, Beijing held a workers' amateur music and art observation meeting, and Ma Shuhuai won the first prize for his cross-talk "Looking for An Object". In July, as a representative of the Beijing Division, he participated in the National Amateur Quyi Observation performance, and won the national championship with the cross-talk "Don't Complain About Me", whereby he was transferred to the China Broadcasting Arts Troupe and became a professional cross-talk actor. In less than a year, he had mastered six traditional cross-talk, created four new shows, and then launched his official cross-talk debut, Playing Basketball. At that time, the leaders of the regiment determined that Hou Baolin, Liu Baorui, Guo Qiru, Guo Quanbao, etc. would teach their homework together as Ma Shuhuai's teachers, of which Hou Baolin would be the responsible teacher. I have to say that Hou Baolin, a big cross-talk coffee, got a piece of cross-talk jade again. (Hou Baolin commented: Everyone else is wood, only Ma Ji is a piece of jade.) The reason why Houmen is famous lies in the master who opened the door and also in the disciples under the door.
This is a good thing for the horse locust, but also a difficult thing. To say that the good thing is that these four teachers are all famous teachers and have a high level; to say that it is difficult is to say that he has to deal with the relationship between these four teachers. It looks like big coffee, but big coffee is sometimes particularly small belly chicken intestines.
I should also explain in particular that the horse tree locust did not suddenly soar into the sky. In 1954, he compiled a "cross-talk" entitled "The Great Motherland" and participated in the literary and artistic performance of the Beijing Light Industry Trade Union, but failed because the content was too immature and shallow. After the performance of "Yellow Crane Tower" in 1955 was criticized, he began to use his business time to visit teachers and friends, and then participated in the workers' amateur art troupe taught by Liu Baorui and Guo Quanbao. That is to say, before he won the first prize of the Beijing Municipal Workers' Amateur Quyi Observation and Performance, he had already followed Liu Baorui and Guo Quanbao to listen to the lectures. At this time, he had not yet won an award, nor did he worship the two big coffees as his teachers; after he won the national award and was transferred to the China Broadcasting Art Troupe, it was impossible for Liu Baorui and Guo Quanbao to take Ma Shuhuai as apprentices, because there were two more big coffees in the group than him. Liu Baorui could not grab Hou Baolin.
Liu Baorui and Ma Ji
Front row from left: Hou Baolin, Guo Quanbao, Guo Qiru, Liu Baorui Back row from left: Ma Ji, Li Wenhua, Hao Aimin, Yu Shiyou
In 1957, Hou Baolin felt that the name Ma Shuhuai was around his mouth, not loud, and the strokes were many, which was not easy for everyone to remember, so Ma Shuhuai borrowed from the Hungarian comedy film "Herding Goose Young Horse Season" that was being screened at that time, taking the stage name Ma Ji. Subsequently, Ma Ji toured the field with the troupe, and everywhere he went, he was very popular. After returning from the tour, the China Radio Rap Company was divided into two performance teams, with Ma Ji leading the army alone. During the tour, Ma Ji's partner is the third master brother Yang Ziyang. The two cooperated to launch the cross-talk "Wang Jinlong and Zhu Yingtai", "Who to Marry", "Please Doctor", and performed the traditional cross-talk "To the Spring League", "Empty City Plan", "Pickpocket" and so on.
In October 1958, Ma Ji went to the Front Line of Fujian as a member of the condolence group to perform, during which he created the cross-talk "Hero Little Eight Road", which was the first praise-type cross-talk work he created in the true sense; in the same year, he created and performed the cross-talk "Mountaineering Hero Praise", which is based on the real deeds of Chinese mountaineers climbing Mount Everest.
In 1959, he created the cross-talk "Looking for Uncle".
In 1961, the excavation of traditional heritage in the qu art circle was carried out nationwide, recalling and sorting out 80 traditional cross-talk sections, which were printed into the "Chinese Traditional Cross-Talk Encyclopedia", which is the so-called "four major books" of the qu art circle.
In 1963, he created the cross-talk "Portrait".
In 1966, after the "Cultural Revolution" began, it was criticized. The reason for this is that in this special era, Hou Baolin was also detained and asked to explain his problems. There is also a rumor: in this special era, Ma Ji slapped Hou Baolin. Together with Tang Jiezhong and Zhao Lianjia, he was branded as a "Matang Zhao anti-party clique."
In 1967, Ma Ji was introduced by Jiao Naiji, the leader of the Railway Soldiers Literary troupe, to Yu Bo, a singer of the Literary and Labor Troupe, and soon got married. On December 25, 1968, his son Ma Dong was born in Harbin, Heilongjiang.
After 1976, Ma Ji created "Scar CrossTalk", "White Bone Essence Appearance", "Stage Wind and Thunder", and satirical cross-talk "The Best of Beijing" and "Multi-storey Hotel". "The Best of Beijing" was quickly banned because the slander was too sharp. This year, Jiang Kun went to Beijing to participate in the National Quyi Tuning Performance, Ma Ji was a judge, and he fell in love with Jiang Kun at a glance, and after obtaining Jiang Kun's consent, Ma Ji transferred him to the Central Radio Rap Group and accepted him as a disciple.
In 1977, Ma Ji took his disciple Jiang Kun to Taoyuan County, Hunan Province, to collect wind, during which he created the cross-talk "New Peach Blossom Origin".
In 1980, "Selected Cross-Talks of Ma Ji" and "Cross-Talk Art Talk" were published. "Crosstalk Art Talk" makes a more detailed exposition of the origin, content, form, artistic techniques, types of baggage and a series of problems in cross-talk performance.
In 1982, the rapid popularization of television made Ma Ji begin to think about the transformation of cross-talk from auditory art to visual art. Ma Ji organized a team, and together with Zhao Yan and Shu Shusen, he arranged 13 sketches, wax carved into a book, and integrated into the earliest Chinese sketch book, named "The Window of Laughter". Ma Ji has tried to switch from crosstalk to sketches.
In 1983, he was appointed as the chief planner of the first Spring Festival Gala. At the party, he also performed cross-talk "Small Scene in the Mountain Village", "Little Thunder Peak" and "Say One No Two". This year, there is also a popular short passage called "New Geographical Map", and many of his cross-talks have also left a distinct mark of the times.
In 1984, he performed the cross-talk "Cosmic Brand Cigarette" at the CCTV Spring Festival Gala.
In 1985, he was named one of the "Top Ten Comedians in The Nation", and he ranked first.
In 1987, at the CCTV Spring Festival Gala, Ma Ji and his disciples performed a group of cross-talk "Five Senses Fighting for Merit". This year, Ma Ji suddenly suffered a large-scale heart clot in Changsha and was hospitalized for 3 months, during which he was critically ill three times. 20 years later, Ma Ji still died of heart disease.
In 1989, it won the 1st China Golden Disc Award.
At the Spring Festival Gala in 1989, Ma Ji performed the cross-talk "Farewell".
At the Spring Festival Gala in 1991, Ma Ji performed the cross-talk "The Apprentice".
In 1996, he performed the cross-talk "Old and Young Music" at the Spring Festival Gala of CCTV.
In 2006, he won the Lifetime Achievement Award of the China Quyi Peony Award.
At 10:25 a.m. on December 20, 2006, Ma Ji died at the age of 72 due to a heart attack at home and was rescued by the Tiantongyuan Branch of the Changping District Hospital of Traditional Chinese Medicine in Beijing.
On February 11, 2007, Ma Ji's autobiography "A Lifetime of Waiting" was published and distributed.
In addition to performing some traditional cross-talk and cross-talk segments created by others, Ma Ji has created more than 100 cross-talk segments. Ma Ji's representative works include: "Looking for Uncle", "Hero Little Eight Road", "Mountaineering Hero Praise", "Portrait", "New Peach Blossom Origin", "Female Captain", "White Bone Essence", "Stage Wind and Thunder", "Five Senses Competition" and so on.
Ma Ji is a key figure in the inheritance of modern cross-talk art, he inherited and developed the Hou style, stepped out of his own creative path, followed by most cross-talk latecomers, and made indelible contributions to Chinese cross-talk. In addition to the tradition that cross-talk art is longer than irony, the new cross-talk works that are good at performing reflecting real life have opened up a new situation of "praise-type" cross-talk with the theme of praising new life and new heroic figures, of which "Mountaineering Hero Praise", "Portrait" and "Looking for Uncle" and other programs have a great influence.
Xue Baokun, a music theorist: "The biggest difference between Ma Ji and the previous artists is that he does not ugly himself on stage and has the spirit of the times. Many of his crosstalk, routines, and techniques are traditional, but he applies them to new events. ”
Cross-talk critic Zhang Lotte: "Ma Ji's understanding of humor is very unique, and writing praises to make people laugh is enough to see his skill." His hymns are full of rhythm, like "Guerrilla Heroes", where to talk about the right thing, where to help, where to insert a song, densely arranged, and magical. In the case of average vocal conditions, he has exploited almost the full potential of language. ”
Guo Degang: "We must always recognize Mr. Ma Ji as our cross-talk master, he has created and performed a lot of praise-type programs, opening up a way for cross-talk, and he has been very successful in this regard... Not only did he perform well in his new work, but he also performed very well in his old life. This is the real sense of crosstalk everyone. ”
He once served as the executive director of the China Ququ Association and the leader of the rap troupe of the China Broadcasting Art Troupe.
The main disciples were: Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Xiao Lin, Wang Qianxiang, Li Zengrui, Han Lancheng, Liu Xiyao, Peng Ziyi, Chang Peiye, Huang Zhiqiang, Huang Hong, Yin Zhuolin, Yao Xinguang, Li Guoxiu, Zhao Longjun, Xing Yingying, Liu Lixin, Hou Guannan, Zhang Qing, etc.
Ma Ji and Jiang Kun
Ma Ji and Liu Wei
Ma Ji and Feng Gong
Ma Ji and Zhao Yan
Xiao Lin and Li Guosheng
Wang Qianxiang and Li Zengrui
Jiang Kun and Feng Gong
With so many disciples, it is said that the relationship is not good. Jiang Kun and Feng Gong rarely share the same frame, and finally in the same frame, Jiang Kun said in the front, and Feng Gong was wandering in the back. Eating melon masses picked up and picked, the only cooperation found was that the two cooperated in 86 years of a nameless cross-talk, Feng Gong as a praise, the two have not been to each other before the complete word, 5 minutes of content is his improvisation, and then Jiang Kun also improvised dialogue.
The brothers of Jiang, Zhao, Feng, and Liu reunited, already at Master's memorial service.
The relationship between Ma Ji and his master Hou Baolin is said to be not good. It was once said that during the Cultural Revolution, Ma Ji beat Hou Baolin. So did Ma Ji ever beat Hou Baolin? When someone asked Hou Baolin about this question, Mr. Hou did not answer positively, but said, "Don't ask this, some of the apprentices in the old society beat the master." Ma Ji said: I think without these, there is no life; without these misunderstandings, without scolding, without rumors, there is no way to move forward, anyone is. (Ma Ji also avoided it, meaning: did play)
But later the relationship between the two eased, and it is said that the middleman is Chang Baohua. Before his death, he said two things about the past:
The first one: "I remember that when I returned to the army in 1974, Ma Ji wanted to invite me to dinner, and at the same time Mr. Hou Baolin also invited me to dinner, and there were many legends about their master-apprentice relationship, and there were contradictions of one kind or another, and I didn't care about any contradictions, and in order to ease the relationship between them, I said that we would merge into one." I don't think it's about the meal, it's about being together to ease the relationship. ”
The second pile: "It turned out that there was a situation where you didn't go to me, and once the two people who came to the corner from the field and made an appointment separately, it seems that Mr. Hou did not go later, because he heard that there was Ma Ji." Later, for the sake of the overall situation of cross-talk, the two people abandoned their previous suspicions and went to Hong Kong hand in hand, but there was basically no contact in life (between the two of them). ”
Regarding the performance in Hong Kong, Ma Ji later recalled: "At that time, Mr. Hou said: 'Ma Ji, you come here, after you come to Hong Kong, you can perform my strips. Saying this was the first time I had given me the green light and was satisfied with me. I said, Mr. Hou, rest assured. ”
The contrast with Chang Baohua's words shows that the relationship between the master and the apprentice for a period of time was indeed not too good. That era passed, and the relationship between the two returned to normal.
It is said that Ma Ji and Hou Yaowen also have a bad relationship. In 2006, Ma Ji died suddenly of a heart attack, and the major media remembered Master Ma Ji. At this time, Hou Yaowen suddenly said that Ma Ji was not a master, and proposed the "five criteria" of a master:
1. Must be the performance authority of the cross-talk art; 2. Not only good at performing but also independently create excellent scripts; 3. Must also be a cross-talk theorist, able to write books and speak; 4. Must be an educator, carry forward the cross-talk art, peach and plum all over the world; 5. Must be a critic, can give the right direction to controversial issues.
After Ma Ji's death, he also publicly denied Ma Ji's identity as a master, and anyone could see that there was a contradiction between the two, and this contradiction was still a big contradiction and irreconcilable.
The only blame can be blamed on that special era, which made many people chaotic with that era.
In fact, there is more to it. Hou Yaowen transferred the workshop worker Feng Gong Liu Wei from Tianjin to the Railway Cultural and Labor Troupe and became a professional actor in cross-talk. The purpose of this is clear to everyone: they have taken a fancy to Feng and Liu, and they want to take in disciples. However, Feng and Liu were cut off by Ma Ji.
Guo Degang is Hou Yaowen's apprentice, and Jiang Kun is Ma Ji's apprentice, which is known to everyone. The grudge between the two later people is also clear to everyone, why? I want to go by myself.
No matter what the master-apprentice relationship is, it is recognized that Ma Ji is a key figure in the history of Chinese cross-talk after Hou Baolin, who caters to the times and makes cross-talk and the times pulse and beat together. His cross-talk art has influenced and entertained a generation. The reason why Ma Ji has achieved such a high level of achievement is that he has amazing observation, creativity, and expressiveness. His success depends more on those works that are in line with the times, and he perfectly integrates traditional cross-talk and new-age content into his cross-talk segments.
Ma Ji is undoubtedly irreproducible, unless he has the same talent, can create, and knows how to perform. It is said that Hou Baolin left a last word to Ma Ji before his death: "Ma Ji, the improvisation of cross-talk must not be lost, it is the main skill of our cross-talk." The difference between Hou Baolin and Ma Ji can be seen from this sentence: Hou Baolin is more traditional than Ma Ji; Ma Ji is more emphasis on the praise of the new life than Hou Baolin; the former emphasizes traditional skills, the latter reflects the works of the new life; the former is easier to grasp through training, and the latter needs talent.
Therefore, Hou Baolin's disciples were craftsmen and could eat according to their abilities; Ma Ji's disciples could not inherit Ma Ji's mantle unless they were talented.
There are 21 disciples of Ma Ji, how many people can reach half of his level? Not to mention the shoulder to shoulder.
Since Ma Ji closed the mountain, the cross-talk has quickly fallen, and what has left everyone with is only a few paragraphs that are not painful or itchy at the Spring Festival Gala. It was not until the rise of Guo Degang and Deyun Society ten years later that Xiangsheng returned to everyone's vision. Coincidentally, in 1996, Ma Ji was last on the stage of the Spring Festival Gala; in 1996, Guo Degang, Together with Zhang Wenshun and Li Jing, founded the Beijing Cross-Talk Conference.
Guo Degang developed a small garden in Beijing; in Tianjin, he took the small garden route and achieved success was Ma Ji's second brother Huang Tieliang. Guo Degang and Huang Tieliang both followed the traditional cross-talk path, which is very different from the new cross-talk advocated by Ma Ji Jiang Kun.
Ma Ji did not let his son Ma Dong enter the cross-talk circle and was glad for it. Matthi said: "I love this art too much, I hate this team too much. Ma Ji once said to Cui Qi: "I spend one-third of my time engaging in cross-talk, and two-thirds of my time dealing with interpersonal relationships." ”
He can overcome some of the bad habits of the cross-talk world, but he worries that his son will go with the flow. He has always taught his son to use other skills: "Don't follow behind your old man to eat this bowl of cross-talk, there is no end." Ma Ji usually tries not to study crosstalk in front of his son, and when Jiang Kun and Zhao Yan come to the house to exchange crosstalk, if they find that Ma Dong is eavesdropping, Ma Ji will immediately throw him out.
In fact, Ma Ji has always insisted on writing satirical cross-talk, but together with Tang Jiezhong and Zhao Lianjia, he was beaten as a "Ma Tang Zhao anti-party clique", and his "The Best of Beijing" was also banned. Later, he switched to writing praise-type cross-talk, excavating the highlights of typical small people across the country, and using the language of life to tell the stories of ordinary people with ease and humor. Later, in his testimonial to the Xiangsheng Lifetime Achievement Award, Ma Ji said: "I can still bring laughter to everyone in the era when there is no laughter. ”
This seems to be his bitterness on the road of cross-talk, so he does not advocate that his son Ma Dong say cross-talk.
Later, Ma Ji said: "Now let him study hard, as for not saying crosstalk, wait until he grows up." "He changed his mind.
When Ma Dong grew up, he always avoided talking about his childhood life and his famous father, and those auras were of little use to him. For the family, he only mentioned the similar experience of being in school and often blocked to let him say a cross-talk.
In 1986, Ma Dong took the thirty thousand yuan given by his father and ran to Australia to major in computer science.
Ma Dong, 27, resolutely decided to return to China, studied at the Beijing Film Academy, and began to work in television.
Ma Dong's original show was "There's Something to Say."
In 2001, at the age of 33, Ma Dong joined CCTV as a producer of "Challenge Host", and his witty and humorous hosting style was refreshing to everyone. Since 2004, he has hosted CCTV's "Cultural Interview" for 7 years.
For his son's choice, Ma Ji agreed. But for crosstalk, he was worried. He said bluntly: "I am very worried that there is no successor in the cross-talk industry, some people who engage in cross-talk do not do their business to play film and television; some cross-talk people, for more than ten years, will only say one paragraph; and some people nominally hang in the group, but actually signed contracts with film and television companies, waiting to shoot TV series at any time." Can such a situation be able to pick up the cross-talk class? ”
At Ma Ji's memorial service, Ma Dong said: "I hope everyone will not cry, do not shed tears. My dad's favorite thing in his life was the applause of the audience after listening to his crosstalk. So today, it should be counted as the last curtain of my father's life. After saying that, Ma Dong burst into tears.
At the 2009 CCTV Spring Festival Gala, Ma Dong "inherited his father's business" and said "The New Five Senses Strive for Merit". Although the "first time" has received a good response from many audiences, Ma Dong categorically said that he will definitely not change careers because of this: "I enjoyed this performance of "New Five Senses Competition", but I am afraid that this is only one paragraph, which is also a memorial to my father. Although I grew up in the atmosphere of crosstalk, my father has always separated me from crosstalk, and he does not want me to do this business. ”
In 2012, the 44-year-old Ma Dong left CCTV and joined iQIYI as chief content officer, with overall responsibility for content collection, editing and production.
In 2015, Ma Dong left iQiyi to found Miwei Media as the founder and CEO. It has successively launched original network variety shows such as "Strange Story", "Strange Flower Conference", "The Temptation of The Meal Bureau", and "Summer of the Band". Later, it developed and produced Internet audio products such as "Talk Well", "Primary School Question", "Cai Kangyong's 201 Emotional Intelligence Lessons", "Ma Dong's Workplace Plan B", and developed an audio and video social APP based on the werewolf killing game "Meal Bureau Werewolf".
In May 2016, Ma Dong talked about his father Ma Ji in "Strange Story". He said: After his father passed away, he did not get real relief, and he always felt that his father had not left. It wasn't until three years later, in a dream, that his father said to himself, "I'm really gone today, and I'm glad to be a father and son with you for the rest of my life.
No matter how great Ma Ji is, he is still small in the face of the great Ma Sanli, so what he created cannot be called "Ma Pai". In addition, he was standing on Hou Baolin's shoulders, so he was a standard Hou Men disciple.
Ma Ji had many disciples, but they all lacked his aura, his keen observation, amazing creativity and flexible expression, so his disciples did not have much development in the art of cross-talk that he had pioneered. This cannot but be said to be a pity.
Ma Ji's disciple Jiang Kun is still the chairman of the Qu Association, and there are many disciples, but Jiang Kun seems to be getting older and older over the years, not only is his body old, but his thinking is also rigid. Jiang Kun's apprentice Zhou Wei even broke the "donor" thing, and ended up with the elegant title of "Zhou Donor".
Ma Dong did not say crosstalk, which may be lucky for Ma Dong, but for crosstalk, it is definitely a pity.
It should also be said that during Ma Ji's lifetime, Ma Dong has been calling Uncle Jiang Kun. It is said to be "breaking the four olds", and it is necessary to follow the teacher-student relationship theory, not the teacher-apprentice relationship theory. This cannot but be said of Matthi's low profile and approachability. Ma Ji left, but Jiang Kun insisted that Ma Dong call his brother.
It should also be said that Ma Dong, who started his own business, and Guo Degang, who started his own business, were very close, and Guo Degang invited Ma Dong to host the 20th anniversary celebration of the Deyun Society. Guo Degang has great respect for Ma Dong, and every time they meet, he calls him Brother Shi, always hanging on his lips "thanks to the care of uncle".
At this point, I suddenly wanted to say: The cross-talk world, a mess of hemp!
Ma Ji really loves crosstalk, and he really hates people in the circle of crosstalk; the longer he stays in this circle, the more tired he gets. Especially when it happened to be a special era, an era that made people crazy. If it weren't for this crazy era, maybe he would have achieved more and could have opened a sect like Master.
However, many people say that Ma Ji brought cross-talk into the TV, which is indeed elegant, less customary in the small garden, and also makes cross-talk an indispensable embellishment, becoming a pitiful joke of the Chinese New Year's Eve.
Times are changing, how should crosstalk get along with this era? Tradition on the left, modernity on the right, left and right in the gap between the crosstalk can complete the inheritance and innovation?
How many mingzi generations are still engaged in class clubs? How many are you still working on?