2020 is the 115th anniversary of the birth of Master Liu Baorui, what kind of existence does he have the reputation of "stand-up king"?
Tang Jiezhong followed Mr. Liu Baorui in the 1950s and 1960s, and he recalled it like this:
My praise came from Master Liu Baorui's point
Since childhood, Mr. Zhang Shouchen has been a teacher, and with his steady and elegant typhoon, delicate and beautiful tone, unique artistic styles of sound, appearance, affection and god, he has become a well-known cross-talk master.
On the basis of inheriting the tradition, he performs stand-up comedy, drawing on the techniques of sister arts such as one-legged plays, commentaries, and Shandong Fast Books, and learning from Peking Opera, dramas, and movies, integrating and penetrating, constantly innovating, and becoming a family of its own, known as the "King of Stand-up Comedy".
Mr. Liu is not only a superb cross-talk performance artist, but also a cross-talk educator who attaches great importance to the cultivation of reserve forces.
Although Mr. Liu is a cross-talk artist in the old society, he does not have the old consciousness of "preferring to help ten hanging money, not passing on the art". As early as 1954, he used festivals and holidays to perform for peasant brothers in the rural areas of the suburbs of Beijing where communication was not yet developed, popularizing cross-talk knowledge and making friends extensively. He also mentors the Workers' Quyi Team. In the 12 years from 1954 to 1966, he held several training courses in the Cultural Palace of the Working People in Beijing, cultivating a large number of music talents. In 1957, the Central Radio Rap Company established a cross-talk study class, which was tutored by Mr. Liu. Due to his strict teaching and dedication, most of these students have become the backbone of professional literary and art groups, and famous artists such as Li Guosheng have emerged. Mr. Liu also devoted a lot of effort to the cause of the army's music and art, and at that time, almost every army's cultural and industrial troupe had trainees he tutored.
Since I was a child, I have loved cross-talk and have never tired of hearing the cross-talk of famous artists such as Ma Sanli and Hou Baolin. The one that fascinated me the most was Mr. Liu Baorui. There was no TELEVISION, so I had to listen and study with the radio in my hand. On the days when I heard his voice and did not see him, I dreamed of one day seeing the brilliant performances of the masters with my own eyes.
Teacher Wang Duan once used the title of "Golden 1959" to describe my growth process. Indeed, this year was too important for me. I was sent to the Central Radio Rap Company for further study and really became a student of Teacher Liu Baorui. He not only taught me many passages, but also passed on to me the experience he had accumulated over the years.
The most memorable thing for me was that in the summer of 1959, I accompanied Mr. Liu to Fuzhou, Quanzhou, Kamata, Xiamen and other places to offer condolences. Because the conditions are more difficult, in order to promote me, Mr. Liu not only said stand-up, but also praised me, at least three times a day, but also said "live" for me. Sometimes some people do not look at it, but also have to act, Mr. always has to respond, serious and responsible, meticulous.
I don't know whether Mr. Liu looks at my image and personality as suitable for "holding", or Whether I am particularly interested in the art of "holding" in my studies, Mr. Liu has taught me many times: to exercise comprehensively, we must learn both "teasing" and "holding". Most of the baggage in cross-talk is turned over with the art of "holding the praise". Especially in the aspects of "shoulder child" and "bridge building child", it shows the importance of "holding the bridge". If the baggage of "holding the bill" is not turned over well, and the "teasing" art industry is strong, the baggage cannot come out, and it is in a hurry. Therefore, you must not only master the shaking baggage, but also learn to turn over the baggage, and it is beneficial to understand more about the laws of "holding" and "teasing".
My husband's teachings have benefited me for the rest of my life. It was precisely because I deeply understood Mr. Ma's teachings, and it was through the tempering of Mr. Ma's "praise" for me, that I laid the foundation for my future cooperation with Ma Ji, Hao Aimin and other three famous artists. If the majority of cross-talk lovers like my art of "holding the praise", it is my reward for my mentor.