The network term "driving" is actually an implicit expression of meat strips.
For "driving", we must look at it rationally, and we must not fight with a stick while not advocating hype.
At least, high-level "driving" is also a kind of language art, and low-level "driving" is what we have to avoid.
For the performance form of cross-talk, "driving" is also an important subject, which existed before liberation, disappeared for a period of time after liberation, and reappeared again after the twenty-first century.
For example, crosstalk is like cooking, "driving" is like peppercorns for cooking, without this seasoning, some dishes such as boiled fish lose their taste.
At the same time, some people don't like to put peppercorns in the dish, and some people especially like this bite, so what to do?
This requires cross-talk actors to be cautious, careful to drive and artistic when "driving" in cross-talk, so that they can be suitable for all ages, and there will be no situation where half of the audience shouts and half of the audience scolds the street.
Before liberation, the cross-talk industry was very particular about handling the "driving" segment.
Cross-talk artists who draw pots and shake the floor generally do not pay attention to skill when "driving", and directly press it over the face of the "sticky" (audience), which is called a car of mine, naked, and I make you involuntarily fanatical.
At this time, they will greet the women in the audience in advance: the following cross-talk is not a human word, you better avoid it, for fear of dirty ears.
Such details are reproduced in the TV series "Ma Sanli" and "The Legend of Dou Tianbao" starring Guo Degang.
In the tea house, the number of cross-talk actors in the theater is not much, even if "driving" is more exquisite, simply put, it is a "civilized car".
The traditional cross-talk "Spring League" has a "driving" version:
Shanglian: Red pink lady sideburns obliquely insert a branch of young begonia leaves three begonia petals.
Lower link: White-faced scholar hanging upside down half of the waist with hairy hard yam shrugging yam beans two pieces.
This kind of "driving" occupied the mainstream position in cross-talk before liberation, so it can be said in some tea houses and theaters that the audience can understand.
However, in some occasions with stricter requirements, such as church meetings with many female relatives, this kind of "civilized driving" paragraph is also not allowed.
For a long time after liberation, crosstalk was not only ordinary "driving" or "civilized driving", not only crosstalk, no one in society talked about this topic, until the 1990s, almost synchronized with the rhythm of real cars entering thousands of households, "driving" has gradually reappeared in the jianghu and become a trend under the impetus of the Internet age.
Cross-talk works are closely related to life, so after entering the twenty-first century, there are more and more "driving" passages in cross-talk, but, as before liberation, the "driving" skills of cross-talk actors are also very different, some are more subtle and clever, some are more straightforward, and some are even more toothy and obscene.
For the more clever and subtle "driving" skills, the author gives an example of Miao Fu Wang Sheng, which was a special performance they opened in Guangzhou.
Miao Fu Wang Sheng hung Zheng Hongwei in the cross-talk (there was no awkwardness at the time), saying that when he was a child, his family was poor, and his mother used his face pocket to make him underwear, and as a result, the bride was scared unconscious just after taking off her pants on the night of the wedding.
This paragraph is very common, and the bottom of the bag is "a few large characters written on the underwear, weighing thirty-eight kilograms", which belongs to the nature of "driving".
This baggage is not thick, even if it is the first time to listen to this paragraph the audience can understand in total, do not need to help dismantle the baggage, and if it is hard to dismantle, it is easy to drive this "car" into the ditch.
Miao Fu said the bottom of the baggage, Wang Sheng's performance is very good, only use the action and eye stubble, do not talk much, this treatment is really very good, not only let the effect of the baggage continue, do not mix, but also do not teeth.
In the same cross-talk, Miao Fu said about the stage name, Wang Yuebo thought that his stage name "Miao Hongqi (depicting the red flag)" was not good, suggested that he be the same as Wang Yuebo's name, replaced by the word "Yue" in the middle, and became Miao Yuefu (aiming at the father-in-law).
The audience laughed, but this is not the bottom, the bottom of this burden is another person: Li Jing's opposition is the loudest, (Miao Fuxue Li Jing's voice) I firmly disagree with adding this word in the middle of my name.
Wang Sheng's praise this time still did not make a sound, but directly pushed Miao Fu out.
The audience laughed loudly, and the effect was very good.
To be honest, the bottom of this bag is actually some teeth, but Wang Sheng did not speak and only pushed Miao Fu hard, and successfully washed away the teeth of this bag.
Later, Wang Sheng also made a small summary of this paragraph: You see you gave us the stage name of chaos, Wang Zengsheng (增生), Li ....
Overall, Miao Fu Wang Sheng's two "driving" baggage in this cross-talk were handled very well, and the heat was very well mastered, especially Wang Sheng's praise, which perfectly achieved silence and sound, and did not let these two "driving" into the ditch.
There are also negative examples, Guo Degang Yuqian is less particular when dealing with some "driving" paragraphs.
For example, in a passage during the 20th anniversary performance of the Widely Circulated Deyun Society, Guo Degang said that I was a big deal to "lose you a bowl", which is somewhat straightforward.
There is also a problem with Yu Qian's praise, that "lose you a bowl" itself is an old internet paragraph, the audience understands it in seconds, and the laughter will arrive immediately. At this time, In order to increase the effect, Yu Qian added an extra sentence of "what to lose you a bowl", which seemed a bit redundant, and the audience's reaction immediately faded.
Yu Qian's last sentence, "I thought I would lose you a bowl of porridge," was even less interesting, destroying the original sense of humor in this paragraph. He might as well look at Guo Degang with a helpless expression like Wang Sheng or push Guo Degang to pick up the baggage.
Coincidentally, Guo Degang and Yu Qian also had a "driving" segment that was straightforward to the teeth during a certain performance.
Guo Degang ridiculed Yu Qian's father: Your father owes an ass debt, and he really can't sell his ass.
This is not a burden at all, the style is not high, of course, the audience can understand it in seconds, but it is really not interesting.
Yu Qian's answer was even worse: the debt was repaid, and selling his ass did not work.
In fact, Guo Degang is already straightforward enough, Yu Qian directly pointed out that it is not only unnecessary, but also makes this cross-talk become teethy.
After the two chatted a few words around "selling butts", Guo Degang concluded: Your father is going to Jilin to sell ginseng. This sentence is basically nothing, and the audience can understand it immediately.
Yu Qian's praise at this time turned into a disaster: it was better to sell his ass, but it was better to sell parts.
Realistically speaking, Guo Degang Yuqian's cross-talk can no longer be described as "driving", almost can be regarded as "obscene", the style is not high, not to mention, Yu Qian's praise is to completely dilute a little bit of humor.
Of course, the author's two examples are not to say that Guo Degang Yuqian's cross-talk is inferior to Miao Fu Wangsheng, but when dealing with the "driving" paragraph, Guo Yu's combination needs to be carefully pinched, and it is not a good thing to say the wrong word before each performance, especially when talking about the sensitive "driving" paragraph.
Finally, the author does not agree that "driving" is not allowed in crosstalk, just as I do not approve of only fish in boiled fish. But the author also does not agree that the cross-talk actor "driving" is too fierce and not exquisite, just like I do not agree with the boiled fish only has peppercorns.
I hope that the cross-talk actors: civilized driving, follow the rules.