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In the cross talk world, an inadvertent remark can often stir up a thousand waves. After Master Hou Baolin passed away, his son Hou Yaohua said something shocking: "Look at my father's departure, nothing was left for us, and there was only a bunch of poor brothers left." "
This sentence was like a thunderclap, and the faces of the Houmen disciples present changed suddenly in an instant.
Jia Jiguang turned his face on the spot, furious. Ding Guangquan left the table even more angrily, threatening to say that he had never eaten a grain of rice from Hou Yaohua. This turmoil is like a sharp knife, piercing the surface harmony of the cross talk world and exposing the long-hidden contradictions.
Since then, the relationship between the Hou family and many disciples has fallen to the freezing point, and a dusty past has also been revealed.
In 1957, the cross talk industry ushered in a silent revolution. At the Anshan Iron and Steel Plant, a 17-year-old boy named Yu Shiyou caught Hou Baolin's attention.
This young man from Xinmin City, Liaoning Province, with his outstanding appearance and God-given voice, instantly captured the heart of the cross talk master.
"There are still such excellent young people!" Hou Baolin exclaimed. This sentence not only changed Yu Shiyou's fate, but also injected new vitality into the cross talk industry.
At the same time, another talented young man, Ma Ji, also joined the Central Radio Rap Troupe. The gears of fate began to turn, pushing the two young men together.
Yu Shiyou and Ma Ji were like a match made in heaven, and soon established a deep friendship and tacit cooperative relationship.
The two worked together to create 37 classic cross talks such as "Call", which set off a whirlwind in the cross talk industry. Their works are full of fun, which not only retains the essence of traditional cross talk, but also incorporates elements of the new era, and has won the enthusiastic pursuit of the audience.
Ma Ji commented on Yu Shiyou in his autobiography "A Lifetime of Waiting": "He is gifted and has just the right grasp of teasing. Quick-witted but not hard-working. "
These words not only reveal Yu Shiyou's talent, but also reveal certain qualities in his character.
Hou Baolin is full of praise for the golden pairing. In private, he often sighed: "Yu Shiyou and Ma Ji, the two young men, are really the future of the cross talk world!" "Their rise has not only injected fresh blood into the cross talk industry, but also opened up a new path for the inheritance of traditional arts.
However, the changes in the cross talk world are far more complicated than people think. Just as Shiyou and Ma Ji are rising to fame, a series of unexpected events are quietly happening.
These events will completely change the pattern of the cross talk world, and will also test the wisdom and perseverance of these two young artists.
The success of Yu Shiyou and Ma Ji is not only the embodiment of personal talent, but also the epitome of the entire cross talk industry advancing with the times. Their rise marks the beginning of the art of cross talk to a broader stage.
But the ensuing temptation of fame and fortune and interpersonal strife will also bring unprecedented challenges to this pair of bright stars.
In the laughter, the undercurrent of the cross talk world has begun to surge. The story of Yu Shiyou and Ma Ji has just begun.
In 1940, in a poor family in Xinmin City, Liaoning Province, Yu Shiyou fell to the ground. Fate seems to have played a joke on this third-ranked child from the beginning: there is an aunt and uncle, and a younger brother whose family is poor, and the future is bleak.
However, God gave him a good voice and a handsome face, which became the key to his future success.
Before he was 16 years old, Yu Shiyou relied on his innate talent to find a job at Anshan Iron and Steel Factory. His excellent cross talk skills and allegro performances soon made him famous among the workers.
But no one expected that the real opportunity was yet to come.
At the age of 17, the god of fate favored the young man. Hou Baolin came to Ma Steel Mill to give a condolence performance, and accidentally found this personable and talkative teenager.
"There are still such excellent young people!" Hou Baolin exclaimed. In this way, Yu Shiyou was like a dark horse and became a disciple of Houmen.
Since then, the trajectory of Yu Shiyou's life has changed dramatically. He is hungry to learn the art of cross talk, and his talent and diligence complement each other. In just a few years, he created more than 100 cross talks.
Before the age of 25, Yu Shiyou had already made a name for himself in the cross talk industry and became a hot new star.
However, the road to fame has not been easy. Yu Shiyou spent 6 years and 9 months at Magang Factory, and this experience accumulated rich materials for his future creations.
As his disciple Wang Yang later sighed: "If Master had stayed in Beijing, I might have become a master earlier, but then I might not have the opportunity to worship him as a teacher." "
Yu Shiyou's success not only changed his fate, but also affected the pattern of the entire cross talk world. His rise has injected new vitality into cross talk, and has also set an example for future generations of artists.
His works such as "Telephone" and "Looking for Uncle" jointly created by him and Ma Ji are still talked about by people today.
However, with the passage of time, the changes in the cross talk world have also brought new challenges to Yu Shiyou. The disputes in Vanity Fair and the dilemma of artistic inheritance have all tested the wisdom and mind of this cross talk master.
Despite this, Yu Shiyou has always maintained his love and dedication to the art of cross talk.
From an ordinary worker in Magang Steel Factory to a leader in the cross talk industry, Yu Shiyou's legendary life is not only the epitome of personal struggle, but also a portrayal of the development process of the entire cross talk industry.
His story is like a wonderful cross talk, which is both hilarious and thought-provoking.
In the cross talk world, the relationship between master and apprentice is often closer than blood. The master-apprentice relationship between Wang Yang and Yu Shiyou is a vivid portrayal of this deep relationship. Although Wang Yang missed Yu Shiyou's 6 years and 9 months at Masteel Factory, fate still linked them closely.
It was precisely because of Yu Shiyou's recommendation that Wang Yang was able to worship under the Hou family and become the disciples of Hou Yaohua and Hou Yaowen's two uncles. Whenever he talks about his master, Wang Yang always says with respect: "My respected master, Mr. Yu Shiyou, was born in 1940 and is gifted and intelligent. "
At that time, people admired handsome and chic appearance, and my master not only had outstanding appearance, but also had an amazing voice.
In 1993, at the Spring Festival Gala of Tianjin TV Station, the master and apprentice finally had the opportunity to perform on the same stage. Wang Yang served as the teaser, and Yu Shiyou was responsible for the teasing. This performance not only showed the tacit understanding between the two, but also demonstrated their deep friendship between master and apprentice.
The two cooperated seamlessly on and off the stage and won bursts of applause from the audience.
However, in the complex interpersonal relationships in the cross talk world, the friendship between master and apprentice is often tested. As time went on, the relationship between Wang Yang and the Hou family became delicate.
He had many conflicts with Hou Yaohua and his brother Hou Yaowen, which led to the breakdown of the relationship. This complex relationship also reflects the contradictions and dilemmas in the inheritance of the cross talk industry.
Despite this, Wang Yang's respect for Shiyou has never diminished. In his opinion, Yu Shiyou is not only a skilled cross talk master, but also a guide who guides him into the world of cross talk.
Whenever he recalls Master's teachings, Wang Yang is always full of emotion: "If it weren't for Master, I might never have been able to get into the cross talk world." What he taught me was not only skill, but also the truth of life.
This master-apprentice relationship transcends the grievances and hatreds in the cross talk world and has become an eternal wealth in Wang Yang's heart. Even in the face of various disputes in the cross talk world, Wang Yang always adheres to the principles taught by his master and strives to inherit the essence of cross talk art.
In Wang Yang's view, Yu Shiyou is not only a master of cross talk, but also a life mentor. His words and deeds have deeply influenced Wang Yang's artistic career and life path.
This deep friendship between master and apprentice has become Wang Yang's spiritual pillar in the ups and downs of the cross talk world.
Behind the laughter and laughter on the cross talk stage, undercurrents are surging and grievances are intertwined. The distinction between factions has always been a sensitive topic in the cross talk world, and even the veteran artist Wang Yang is difficult to stay out of.
Although he is regarded as a disciple of the Haiqing faction by the outside world, Wang Yang's situation in the cross talk world is quite embarrassing. He once said frankly: "You can call me a disciple of the Haiqing faction, but no one in the cross talk circle really regards me as the Haiqing faction." "
This complex relationship between teachers and students reflects many contradictions in the inheritance of the cross talk industry.
The factional struggle in the cross talk world not only affects the interpersonal relationship of artists, but also relates to the inheritance and development of art. Each genre has its own unique style and tradition, but overemphasizing factional differences can lead to the fragmentation and closure of cross talk art.
As Wang Yang said: "In the cross talk world, it is wise to avoid this kind of controversy." "
The contradiction between the Hou family and the disciples has exposed the deep problems within the cross talk world. When Hou Yaohua said that sentence about Hou Baolin's legacy, he not only hurt the disciples present, but also desecrated the art of cross talk to a certain extent.
Jia Jiguang's on-the-spot turn and Ding Guangquan's angry departure symbolize the collapse of traditional values in the cross talk world.
The repercussions of this turmoil are far-reaching. Since then, Jia Jiguang has never participated in the Hou family's apprenticeship activities, nor has he attended related activities. Ding Guangquan even asserted that he had never eaten a grain of Hou Yaohua's rice.
These reactions reveal rifts within the crosstalk world and reflect the challenges faced by traditional art in modern society.
However, in addition to these disputes, there are artists like Wang Yang who are silently sticking to it. They have to face the pressure of factional strife while protecting the purity of cross talk art.
Wang Yang once sighed: "There are few pure good people in the cross talk world. This sentence is not only a helplessness for the status quo, but also an expectation for the future.
These grievances and hatreds are not only the throes of the development of the cross talk industry, but also the only way for it to mature. How to innovate in inheritance and grow in controversy has become a problem that every cross talk person needs to think about.
In the face of these challenges, cross talk artists need wisdom and courage, both to respect tradition and keep pace with the times.
In this war without gunpowder, the future of cross talk art is being redefined. The factional dispute and the pain of inheritance may eventually become an important footnote on the development of cross talk.
Although the people are no longer the masters of cross talk, the works left by the masters still shine brightly and have become a treasure of traditional Chinese culture. More than 40 works, such as "Calling" and "Looking for Uncle" co-created by Yu Shiyou and Ma Ji, as well as "The Sound of Mahjong at Night" and "The Troubles of Venus" co-created by Yu Shiyou and Ma Zhiming and Su Wenmao, are still talked about by the audience.
These works not only show the charm of cross talk art, but also record the social style of that era. They are not only the crystallization of the wisdom of the crosstalk masters, but also part of the collective memory of the Chinese people.
As Wang Yang said: "My teacher has left many classics, 40 of which are deeply loved by the audience and have been repeatedly praised by people. "
These classic works have become a bridge between the past and the present, so that the new generation of audiences can still feel the charm of cross talk art. They not only retain the essence of traditional cross talk, but also integrate the elements of the times, showing the vitality of cross talk art to keep pace with the times.
In the midst of strife and change, these classic works are like lighthouses, pointing out the direction for the future of cross talk art. They remind every cross talker that true art transcends personal grievances, can transcend time and space, and touches people's hearts.
These artistic legacies will continue to inspire a new generation of cross talk artists and promote the inheritance and development of cross talk art.
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