The earliest knowledge of Teacher Wang Sheng was through dongdong gun's weibo, and the gun always said that the young cross-talk actor Wang Sheng looked like the elderly Lin Yutang. At that time, he and Teacher Miao Fu had not yet gone to the Beijing Spring Festival Gala to say "Full Belly Economics", and most people did not know him. In 2014, I met Teacher Wang Sheng, and I occasionally chatted a few times over the years.
In this round of interviews, I proposed to interview him and Teacher Miao Fu, and he said that the main reason was that Teacher Miao was busy and could not be "caught". After a period of waiting and confirmation, I finally flew to Xi'an to interview them at the Qingqu Society Theater, Teacher Miao Fu in the morning and Teacher Wang Sheng in the afternoon.
In the impression Chinese teacher Wang Sheng, who graduated from the Department, is always polite and polite, usually loves to read books, and the cross-talk performance also has a very obvious literary atmosphere. However, in the morning, Teacher Miao Fu said that in fact, Wang Sheng was a bad temper, and in the afternoon, Teacher Wang Sheng also said that he was a famous sour face, and he had scolded those people on the stage.
In the afternoon, when I met Teacher Wang Sheng at the Qingqu Society Theater next to the Xi'an Drum Tower, he was sitting below watching the young actors rehearse new works, sweatshirts, and folding fans in their hands. After the actor finished acting, he stepped forward and explained to the crowd what was wrong.
In the following two hours of interview time, Teacher Wang Sheng relaxed and serious, especially when it came to the problem of cross-talk plagiarism, he made a generous statement and said that he had already considered mature ideas. In the interview, his wording is somewhat special, and from time to time he shows the foundation of the Chinese, mentioning what Russell said, what Lu Xun said, which is unique among the actors I interviewed.
At the end of the session when I wrote a message in my book, Teacher Wang Sheng picked up a pen and said that his words were not good, and he had to ponder the interesting words he had seen recently. At this time, I asked him, how did your sentence "Then I don't have to be proud" in your "This is not mine" come from? Teacher Wang's small eyes narrowed: Hey, just write this sentence.
Wang Sheng was interviewed. Zhang Wangzhi photographed
Interview with Wang Sheng
Wang Sheng: Born in 1982, a native of Tongchuan, Shaanxi. At the age of 6, he won the first prize of the "Qindu Cup" Children's Humor Competition in Shaanxi Province. Graduated from the Department of Chinese of Shaanxi Normal University, he studied cross-talk performance with Zheng Wenxi in 2007, and later studied under Zheng Wenxi. In 2007, he and his partner Miao Fu founded the Shaanxi Youth Qu Art Society, which insisted on performing in the small theater all year round, and the Shaanxi Youth Qu Art Club was renamed Qingqu Society after the Shaanxi Youth Qu Art Club. In 2014, he and Miao Fu performed the cross-talk "Full Belly Jinglun" at the Beijing Spring Festival Gala, and in 2015, the two performed the cross-talk "This Is Not Mine" at the CCTV Spring Festival Gala. Representative works include, "Full belly of warp", "Life with a Glass of Wine", "Etiquette Talk", "This Is Not Mine", "Big Talk dialect" and so on.
Interview date: April 26, 2019
<h1 class="pgc-h-arrow-right" > "the more highly educated you are, the better you are in the cross-talk industry, which is a fact."</h1>
Q: This is the cross-talk garden of your Qingqu Society, where do you say the book is located?
Wang Sheng: From here to that side, there is also a Qingqu Society Garden, not much of a field, the audience of fifty or sixty people.
Q: Is it a weekly storytelling?
Wang Sheng: Every day, I say two days a week.
Wang Sheng performs a book review
Q: You said that you liked books since childhood.
Wang Sheng: Right. I say crosstalk is a hobby.
Q: It's definitely not a hobby now, it's a professional actor. Teacher Miao Fu said that on the evening of the first day of the Chinese New Year in 2014, Beijing Satellite TV's Spring Festival Gala was broadcast, and the number of Weibo forwards surged, did you feel it from that moment, and it has been different since then?
Wang Sheng: This...
Question: Or so, if it weren't for this scene, you would have been saying it in Shaanxi all the time, don't you think it's okay?
Wang Sheng: When I first became famous in 2014, everyone just knew that there was such a group in Xi'an, and some people said this about crosstalk. I don't have the mentality that you said you can do right away, and now that I think about it, it was excitement, and that kind of excitement is different for an actor. Who isn't a little conceited? I've said all these years of crosstalk, and I can still do these things.
In 2019, Miao Fu and Wang Sheng performed cross-talk. Yang Ming photographed
Q: Teacher Miao Fu said that you actually put a lot of effort into works other than "Crooked Criticism of Mountains and Seas", but you didn't expect that in the end it became popular because of this work, which shows that the actors are sometimes known by most people and sometimes have a certain degree of accident.
Wang Sheng: The actor is well known to the audience and has a popularity in society, which is a concrete embodiment of fate. It's a little hanging, but the invisible hand doesn't know how to fiddle with it. Of course, those efforts were still the foundation, but when this hand took out who was out, who was not sure in their hearts. It is impossible for someone to calculate which step I am going to today, which step I am going to tomorrow, and which step I am going to the day after tomorrow, and which day I will be red.
Q: But you were red when you were a kid.
WANG Sheng: Cough.
Q: Actually, when you were a child, the award was not for performing crosstalk, but telling jokes and telling stories, right?
Wang Sheng: We have an artist in Shaanxi named Shi Guoqing, that is, Wang Muli, when we were young, he was the hottest and had the most tapes. So I learned from him, called a one-man show. The first one I told in front of everyone was to tell a story, and the other was to learn wang mu calf.
Wang Muli is a Shaanxi one-man show and comedian
Q: Winning the Gold Medal is a provincial competition, right?
Wang Sheng: Qindu Cup Shaanxi Provincial Children's Humor Competition. That imitation was Wang Muli, and at that time a large number of children in Shaanxi learned from him. His form is a little less prop than the harmonic, a little weaker than stand-up comedy and storytelling jumping in and out of the jump out and complexity, and the story form and character distinction are not so complicated.
Q: Not the "King of Stories", because there were still a lot of storytelling competitions.
Wang Sheng: The composition of dialects is large, and characters are distinguished by dialects.
Q: At that time, you didn't pay much attention to crosstalk than to book review, right?
Wang Sheng: I watched my shumen master Mr. Tian (Tian Lianyuan) perform through television, listen to crosstalk through tape, rarely listen to the radio, there are several crosstalk tapes I turned over and listened to, Niu Qun, Feng Gong, Shi Shengjie, Xiao Lin, Li Guosheng. It was probably from 1987 to 1989.
Q: It was just in time for a phase of crosstalk in the 1980s.
Wang Sheng: Right. On the contrary, after middle school, I began to play with semiconductors, and I began to listen to a lot of commentaries, and when I was in elementary school, I listened to the commentaries on TV, including the later "TV Bookstore".
Q: Teacher Wang Wenhua presided. So you were mostly acting at that time, right?
Wang Sheng: At that time, I was alone, one was performing stories, and the school asked to tell the deeds of some typical characters, Lai Ning, Lei Feng, and Jiao Yulu. When I said the book review a few days ago, I still remember the story of Lai Ning, the TV series that Lai Ning watched on the night of the fire fight was called "Again to the Tiger Mountain", and left a note for the family, and then went to the mountain fire. Also tell the story of Lei Feng, that plot is all buckled.
Q: You visited Mr. Cheng Man Hee in 2007.
Wang Sheng: No, I met my master in 2007, and I didn't worship at that time.
Q: So who did you say you learned from before that?
Wang Sheng: After I won the award when I was 6 years old, my family thought that I could cultivate it. At that time, my family was in Tongchuan, the place was small, there were few people, everyone knew each other's roots, and at that time, Mr. Tian was the hottest in the country, so he said that he wanted to find Mr. Tian.
Q: Have you found it yet?
Wang Sheng: No, at that time, it was so convenient, it was impossible. Can't get in touch, everyone haha a happy pass. Later, as soon as I went to school, my family didn't take this seriously. In addition, my academic performance is not good.
Q: If you don't study well, you still take the Shaanxi Normal University? Later good.
Wang Sheng: Anyway, it was not good at that time, so this matter was shelved. I didn't think that after 30 years, I did it that year. I commented on the book and came to Mr. Tian here.
Tian Lianyuan and Yuan Kuocheng. Herd shooting
Q: What year did you worship?
Wang Sheng: On October 2 last year, I paid my respects in Shenyang, and this is also a long-cherished wish of mine. So I was a cross-talk portal in 2009, by Mr. Zheng Wenxi, who also died that year.
Zheng Wenxi, the master of Wang Sheng XiangshengMen
Q: At that time, did the commentaries deliberately imitate Mr. Tian Lianyuan?
Wang Sheng: No. I've rarely imitated anyone since I came into contact with art, including crosstalk, and I haven't used that brain, and I know I don't learn it. Moreover, Mr. Tian's artistic characteristics are too difficult to learn, and his handsomeness, the kind of wielding and temperament on the stage, are not something that ordinary people can learn.
Q: He was the first person to review a book on TV, right?
Wang Sheng: It is he who is fixed now, and some people have come out to tell me what year and year I have said it, which is basically negligible. He was the earliest and best in the combination of stage performance and storytelling.
Q: And he combines storytelling with humor very well, and he also performs a lot of little jokes.
Wang Sheng: Right. At that time, he was not alone, but some commentators changed their small paragraphs and changed the cross-talk small segments to commentaries, and Mr. Tian said a lot at that time in "Quyuan Miscellaneous Altar".
Q: Including the stage story.
Wang Sheng: Yes, "Stage Anecdotes", "The fuses are all interrupted!" "He acted in a vivid way and left a deep impression on everyone.
Q: You went to the Chinese Department of Shaanxi Normal University, and when you were in school, you had a loose organization of college students talking about crosstalk, right?
Wang Sheng: Only after graduation, when I was in school, I basically did not meet a person who talked about crosstalk together, and there were very few people who could talk about crosstalk.
Q: What didn't you say in four years of college?
Wang Sheng: At the orientation party, I said that I would review books once, and then there was nothing. I did drama in the school drama club, and there were no like-minded people in crosstalk.
Q: It seems that this atmosphere is still not as good as that of schools in Beijing, such as Dongdong Gun and their trade university.
Wang Sheng: Compared with Beijing and Tianjin, there is basically no such atmosphere.
Q: What was the first thing to do after graduation? hobby?
Wang Sheng: Hobbies. I met a couple of people who spoke crosstalk, and they had a cross-talk performance at Shida University, and we usually performed dramas on that stage. Their performance was either a two-dollar ticket or no ticket, and I went to see it at night anyway, and a few of them looked really good. At that time, the Deyun Society had just set off the wind of cross-talk in the whole country, and I was a "pestle nest" who easily did not take the initiative to communicate with people, but I still went over and asked when you guys started to perform cross-talk. They said recently, I said I also like crosstalk, can we move together. Leave phone calls with each other, rehearse together in a few days, and that's how it begins.
Q: It's not very profitable, is it?
Wang Sheng: Not profitable. It's not profitable at all.
Q: It's performing at universities.
Wang Sheng: Don't go to any universities, and few universities are willing to let you go. At that time, applying for a university venue was more stringent than now, reporting to the report layer by layer, and approving it layer by layer.
Q: That is to say, at that time, crosstalk could not be eaten.
Wang Sheng: It is impossible to eat as a meal.
Q: After graduation, you did some work, right?
Wang Sheng: Yes, I have begun to make ends meet.
Q: Later, you and Teacher Miao Fu first formed the Shaanxi Youth Qu Art Society, and then the Qingqu Society. You have a high degree in the cross-talk circle.
Wang Sheng: No, no, no. The high education of the cross-talk circle is now more, the carp across the river.
Q: How do you think that people with more advanced education have entered the cross-talk industry over the years? For example, Li Yinfei, as well as The Doctor and Wife of Shanghai Jiaotong University.
Wang Sheng: What's wrong with this industry? Saying that crosstalk is a job, now our country does not divide the work into three, six, nine and so on, right? Didn't it say that this work was not allowed to be done by the lower nine streams, and didn't Mr. Shi Chuanxiang be rehabilitated at that time? It's a job that makes money, has a fixed performance venue, and allows someone to do it. Saying that a person used to study missiles, he is not willing to do missiles, he is willing to do this, you criticize him why don't you do missiles, missiles how noble?
Q: It means that crosstalk can feed people.
Wang Sheng: Crosstalk has long been able to feed people, and it has always been able to feed people. People who can't feed themselves are not suitable for this, and have nothing to do with the level of education. Say cross-talk your "cross-talk education" is high, the artistic skills are deep, so that the audience can listen to you.
Q: Is it relatively advantageous for actors to create cross-talk with each other?
Wang Sheng: Speaking of hanging a little, the deeper your knowledge base, the more normal the "three views" they love to say, and the easier it is to distinguish things normally.
Q: In the past, the old gentleman often said that he did not say confused cross-talk, and actors with slightly higher academic qualifications entered the cross-talk industry, is it conducive to not saying or saying less confused cross-talk?
Wang Sheng: People who read and write do not necessarily say confused crosstalk. The two words of confusion cover a wide range, and your grasp of the rhythm of the performance is not clear, which makes you confused, not just a matter of words and sentences, but the degree of control of a program that you have not reached. In the industry, a person does not say confused cross-talk, in fact, it is quite difficult, indicating that you have gone up the ladder. My master, Mr. Zheng Wenxi, is the old gentleman I have the most contact with, he often says who is good at talking to cross-talk, and does not say confused cross-talk for a lifetime.
Q: That's a high rating.
Wang Sheng: It is to praise this person for being a good person. You listen to Gao Deming's recording, "We don't have inverted cowardice in our mouths," and he's proud of that. This has nothing to do with the level of education, it is a matter of your awareness of this art, of course, the more high education into the cross-talk industry, the better, this is an irrefutable fact.
<h1 class="pgc-h-arrow-right" > "the audience just spends 300 yuan into the theater and says crosstalk is coming."</h1>
Q: You two say that wen wei mostly talk to each other, what is the difference between the wen works of the two of you and Mr. Su Wenmao and Mr. Ma Sanli?
Wang Sheng: First, we must first clarify the concept of Wen Miao. Some programs belong to Wen Wei, like Mr. Su's later performance of Wen Wei works, Mr. Ma in addition to individual work, other works are not what we understand as Wen Wei, "Déjà vu people", "Ten o'clock start" ...
Q: "Buy Monkeys" is also not a literary slogan.
Wang Sheng: These are not Wen Duo, these are all works unique to Tianjin to shape small people, can they be classified into Wen Duo, yes, but strict distinction is not Wen Duo Xiangsheng. Mr. Ma Sanli is well known to the masses of the people, and it is not a literary work. Mr. Su is the standard set up by everyone, what is Wen wei, look at Su Wenmao. Many of the programs performed by Teacher Miao Fu and I actually belong to the works of zimu and mu, but they only add some elements with cultural colors, from the performance method to the program classification, many cannot be classified into the text. Of course, later, everyone relaxed the boundaries of Wen Wei, and no one said this for a long time, in fact, this is not a Wen Wei.
Q: Just when you talk about zimu, nowadays young cross-talk actors seem to be more and more willing to say zimu works, and they always want to show their hands.
Wang Sheng: I have not asked the old man for verification, I do not have the guts, but I myself believe that learning to sing is the four basic lessons set for cross-talk after the founding of the People's Republic of China.
Q: Oh?
Wang Sheng: Yes, two people have to tease, you tease me, I tease you.
Q: Is that right?
Wang Sheng: The words of the family. Now young people love to present it like this, but many of them do not call it zimu when they present it, in fact, it is a fighting mouth, and the zimu is also shaking three times. Some people complained that "Full Belly Warp" said that it did not lay the groundwork and was directly turned, but direct translation also has skills and means, unlike now some programs are fighting for the sake of fighting.
In 2019, Miao Fu and Wang Sheng performed cross-talk. This article was taken by the author
Q: In the past, the kind of teasing and teasing old and young people was really inappropriate now?
Wang Sheng: The current cross-talk rhythm is definitely faster than in the past, but there is still a problem of artistic skills, and if it is really possible to achieve the performance state of Su Wenmao and Zhu Xiangchen in the past, it is definitely suitable for young and old. You now listen to people's recordings or will be happy, who is not happy after the don't listen to crosstalk, please go to the side of the rest to see other programs, now there are so many ways to entertain. People make people silent, goods make people nod their heads, and we have to come up with things. Some viewers said that I don't like to see you this, I love to watch that, sorry I can't come.
Q: So what do you think about catering to the audience?
Wang Sheng: The audience doesn't need you to cater to him, and no audience says you have to cater to me.
Q: For example, he has to listen to the kind of cross-talk with thin skin and big filling.
Wang Sheng: Yes, the needs must be diverse, Russell speaks, and the heterogeneity is the blessing of the world. It has to be done, this is called a feast all the way to entertain guests, no one stipulates that crosstalk must be like this, no one stipulates that it must be like that, you love to listen to who, love to listen to what to hear, the market is diverse and polymorphic, this is called a hundred flowers blooming, a hundred schools of thought. There is no saying who is wrong, or who is right. The artistic level of the Dao'er is there, and at this level you will perform this level of the show.
Q: In the past, you performed a lot in a small theater, there were fewer audiences, and relatively speaking, there were more people who knew a little about cross-talk, and once you became famous and walked into the grand theater, the audience was many and mixed, was it necessary to say that it was not the same?
Wang Sheng: The acting methods are different, and the performance methods are different. Mr. Wang Wenlin came to me to chat with him, he said, a small theater of dozens of people you can easily make it, to thousands of people theater you have to open up a little, otherwise the audience can not see us.
Q: This is a different performance technique, not a cliché in terms of content.
Wang Sheng: I don't know who came up with this statement, but I said that actors can't leave the audience out of their own scope. Let's say that I am such a young actor, cough, how I am still a young actor I am over 36 years old, the country does not take me as a young person, let's say that the post-80s, post-90s actors, the scope of life is too small. Like Mr. Jiang Kun and Mr. Ma Ji, when they walked the streets and alleys, I don't mean to touch the ground, it is really deep into life, the factory and the countryside have been everywhere, and the contact with life is very wide. The children of our group have reflected that they live the 50 meters in front of them, the scope of life is small, the characters and story themes that can be selected are few, and your peers are the same, but the 50 meters in front of him, you go to know him, he comes to understand you, and the story of the times is woven in this way. Don't think about the audience, he may enjoy listening to this, you think so is not necessarily the case. Chai Jing's book is very well written...
Q: "See."
Wang Sheng: Yes, she wrote that when Chen Fei was still alive, Chen Fei made up a film and said to a choreographer, you can't do this film, you have to change it, the choreographer asked why, Chen Fei said that he thought the audience couldn't understand it. The choreographer said, do you understand? Chen Fei said, I understand. The choreographer said, how is the audience worse than you? This is a very good question, actors, you always feel that I said this, they will not understand or dislike, you look down on the audience is not OK.
Q: That means you have to trust the audience's receptivity.
Wang Sheng: Yes, artistic creation is done by a third party. The actor on the cross-talk stage is A and B, but the art is done in the audience, you must let him become your companion, you want him to form a communication with you. Of course, there are some chaos now, and the interaction is a bit too much.
Q: Now some audiences come into the theater and make interacting with the actors the most enjoyable.
Wang Sheng: This is too euphemistic, in fact, it is 300 yuan to say that crosstalk is coming.
Q: Will this be one direction? Or is it just a chaos of this period?
Wang Sheng: Saying that it is chaos is also too much to praise them, and it has not reached the level of "elephants".
Q: You two have been in this situation too, right?
Wang Sheng: Yes. Performing in Hangzhou this year, the audience and we completed the last work of the night sentence by sentence. I "bounced" the ground several times on stage, and the audience didn't take my word for it. Stockholm syndrome, ah, the audience is excited after it is difficult to suppress, the more you say the more you feel fun, enjoyable. You say no, the rhythm of our performance is chaotic, you can't tell him this, you can only say that your scribe is not high enough to learn art, and your artistic ability is not strong enough.
Q: Have the old gentlemen not encountered this situation before, and there is no way to ask, how do they deal with such a situation?
Wang Sheng: When the old gentleman encountered the chaotic situation in the theater, my master told me that he still said at his own pace that he could not ignore them, and the more he reasoned, the worse he became.
Q: Mr. Su Wenmao and Teacher Wang Peiyuan performed a performance in Shandong, and when Mao Amin appeared on the stage, he kept shouting and screaming, and Mr. Su still said it without a word. When Wang Peiyuan asked backstage, he said that he was only allowed not to listen, and I was not allowed not to say.
Wang Sheng: This has something to do with the character of the actor. When Mr. Su was young, he wanted to make a fuss on the stage, no one could stop him, you listened to the recording, when he told Zhao Peiru about "Dou Gong Training Girl", that Su Wenmao and later Su Wenmao were two people, what theater situation had he not seen? But his hair was white when he and Mr. Pei Yuan, do I still care if you make such a fuss?
Q: I think the difference between the situation that Mr. Su is facing now is that the audience doesn't like you, and now the audience likes you too much, I like you, and the actors are even more difficult to offend them.
Wang Sheng: The audience thinks that it has a good interaction with the stage, and it can only be said that an era has the characteristics of an era of art, perhaps the audience's understanding of art in this era is like this, or it may be that there is a problem with the guidance of the actors, and it is also related to the changes in the market trend, anyway, it has now become like this, this is a new topic. You're right to say this, the audience doesn't listen to you have a way? Yes. Mr. Tian often told me that Jin Shengbo performed rock music in Suzhou or Shanghai, he took over the commentary, behind him was Zhang Guorong, the small table was moved, the audience was still hi under the stage, Mr. Jin went on stage and patted the wood and said, Shout again, are dead people, don't you know? Out of life, still shouting? Teenage girls peeled naked and threw them in the mud pond to die, don't you know this? This matter must be solved, and it has also been obtained from Kaifeng Province.
Q: Let's talk first.
Wang Sheng: Didn't you just take it? This is the means. But now the situation is that the audience asks you to talk to him on stage. One of our actors here said after a performance that we had just created a new show, and then we would perform a traditional show. The audience spoke, hey, said one I would. How do you get this? In the past, there were audience members who knew you better than you, but he didn't say it, he just sat down and listened to you. Times have changed.
<h1 class="pgc-h-arrow-right" > "Mr. Shi Shengjie woke me up, don't get carried away."</h1>
Q: Tell me about your "Full Belly Economy" at the 2014 Beijing Spring Festival Gala. In fact, the earliest dialects in your country are all Shaanxi dialects, and it was only at the Spring Festival Gala that Henan dialect and Tangshan dialect were added, right?
Wang Sheng: After tangshan dialect arrived in Beijing, we felt that we had to pick up the atmosphere of Beijing and Hebei, so we picked up a more smooth and timid mouth and said it.
In the Spring Evening of Beijing in 2014, Miao Fu and Wang Sheng performed "Full Belly Jinglun"
Q: And I changed your name.
Wang Sheng: This name is a good change. I always don't care much about the name of the living, in the past the old gentleman made the traditional life where there is a name, there is a name and a planer.
Q: Can you feel that change overnight?
Wang Sheng: Before "Full belly of jinglun", Miao Fu and I had acted in several places across the country, in Chongqing, Chengdu, and Qinhuangdao in your Hebei Province, and some people thought that this life was not bad. My father, Mr. Li Lishan, encouraged us after coming to Xi'an to see it, my best friend, Mr. Zhang Dewu, who has now passed away, he has been recommending us in Beijing, without his recommendation, Mr. Lishan would not come to Xi'an to see. After Reading it, Mr. Tateyama said, you should go out and have a look, it is too small to stay in this place, so we walked to a few places that year. After the performance, I said that we did not dare to say that this art was good, but we had our own characteristics, so later "Full belly" came out. However, Mr. Shi Shengjie said that he said that looking at the influence of "Full Belly Economy", your art actually cannot reach such a big reputation now. When Mr. Shi was seriously ill, I went to Shanghai to see him, and after reading that he was going to send us out, take a handful of strings and comb his hair there, I said I came, he said you don't know the direction of my hair, he said to me, you have to remember Ah grandpa, you have this benefit given by the times, according to your own art can not reach such a big fame now, pay attention, work hard, be humble. He's waking me up and not getting carried away.
Miao Fu, Wang Sheng, and Shi Shengjie, who is ill
Q: "Full belly" has received such a warm welcome, have you ever thought about catching your own problem? Teacher Jiang Kun said that he was always afraid that he would not be able to catch himself.
Wang Sheng: Talking about this issue again many years later, the so-called catch can not be caught, at that time I had a strong sense of crisis, "Full Belly Jinglun" such a job is not good to put aside, from the perspective of both of us to say that I want to create such a work again, it is more difficult. It is based on the degree of tacit understanding and mastery of this kind of baggage that we have honed in the past few years, and it is impossible to interpret this show in another form, and there is no such work. It is a concentrated embodiment of this kind of skill that we can both master, so we can only change the style and change the means. Mr. Jiang told me that he had to perform a singing in the first program, and he had to perform a speech in the second program. So we have to change the style, but changing the style is extremely difficult for a young actor. You have to be reborn and make people feel different.
Q: Actually, on the spring evening of CCTV the following year, your "This Is Not Mine" was a different style. And there was also media publicity before your performance, and for you, the performance style of this show has changed a lot. You usually have a lot of talkative works, "This Is Not Mine" is a little less narrative, and in the end there are regrets in it, right?
Wang Sheng: This show is really difficult, when I got the title, I knew that it would not be too good, the first was not suitable for the atmosphere of the Spring Festival Gala, and the second was not matched with the performance state that we were familiar with.
At the Spring Festival Gala in 2015, Miao Fu Wangsheng performed the cross-talk "This Is Not Mine"
Q: Cross-talk actors are also artificial, and it is not easy for the audience to believe you if they do not conform to the human design.
Wang Sheng: Speaking of our jargon, we don't put the pole on this program, we can't make it strong, we can't feel the pulse. And this kind of subject matter is not light, nor is it heavy.
Q: There are bound to be regrets.
Wang Sheng: It's a kind of torment.
Q: It's no longer the era of 1988's "QiaoLi Mingmu".
Wang Sheng: Mr. Tateyama spoke, after you all said "Qiaoli Mingmu", did you understand what "Qiaoli Mingmu" was?
Q: What does this sentence mean?
Wang Sheng: That is to say, under what circumstances was that, what kind of people acted in the program, and now that it has been 30 years since then, can there be another "Qiaoli Name"? Can you reach that artistic height?
Q: But the media at the time did connect the two.
Wang Sheng: To put it mildly, it is actually the imagination of the media.
Q: That is to say, what kind of works should an actor do well and should always go his own way?
Wang Sheng: There is a saying in the industry that it is not easy to make public. At that time, the attendance rate of the Yingqiu Theater was not high, and Gao Fengshan, Wang Xueyi, Wang Shichen, and Wang Changyou went to Master Hou Baolin and said fourth brother, let's perform together. Master Hou's lover, Teacher Yalan, told them that Baolin should not go, Baolin will work on the pole for 16 yuan, Lao Lu is not worth much, and occasionally go to help you, you can't perform often. Such a big master of art, doesn't he also know that he has shortcomings? Shrimp soldiers and crabs like us, that is impossible. There is also a clear time hierarchy in the growth of an actor, there is a process of tens of years old to dozens of years old, you can't let a 30-year-old person reach the artistic achievement of a 50-year-old, who wants to say that it is crazy to be able to reach it.
<h1 class="pgc-h-arrow-right" > "Teacher Miao and I are two diametrically opposed people."</h1>
Question: You have been proposing the slogan of "Shaanxi Cross-Talk" for several years, and you have also had exchanges with actors all over the country over the years.
Wang Sheng: It must also be justified, first of all, let's talk about the explanation of nouns, how did the word Shaanxi school cross-talk come from? It was given by a contemptible person. At that time, "Huashang Bao" and Qingqu Society engaged in a big theater performance, to find a news burst, you know, I said, I gave you a name called Shaanxi Pai Xiangsheng. No one wants to be a generation of grandmasters, and then let others put incense on us, no, this is a propaganda slogan, there is no need for everyone to be so entangled and deliberate about a name.
Q: But you always have your own characteristics.
Wang Sheng: You are right to say this, but the characteristics and characteristics do not mean that it can become a faction, and the characteristics and characteristics of the actors are individual, not that a group of actors are like this, and they have not yet reached that level of popularity and extensiveness. The performance characteristics of each actor in the Qingqu Society are obvious, but they have not yet reached the level of the pie. Jinwei cross-talk has the characteristics of a small citizen, so many jobs are small citizens? That's impossible. Then there is the question of whether you have borrowed from the performance style of other places, cross-talk is always interconnected, and I wanted to conduct a study on the exchange and evolution of cross-talk across the country in Shaanxi. It's the same now, but now it's more convenient, no need to go local, open the video and see it at a glance. The world is open, Notre Dame cathedral in Paris just burned China began to mourn, where are the boundaries and barriers?
Q: Let me tell you both, Mr. Miao Fu has more social positions, and his personality and handling style are complementary to yours.
Wang Sheng: Complement each other aside, we are two diametrically opposed people, and I can never come to his way of life, and he can't come to my way of life. Isn't the cooperation of adults in the end to suppress their own nature and cooperate with the side that is convenient for contact with people? Any job is the same, not only crosstalk. Isn't it also a collaboration for you to bring a photographer to an interview? The key cross-talk has been put more and more large in this regard, especially now that young audiences are classifying the behavior of the two actors more and more in detail, which has endless reverie and exploration.
Q: The audience always assumes that the two people on the stage cooperate tacitly, and the audience should also be inseparable.
Wang Sheng: Saying that cross-talk does take a long time to run in, I have been running into Miao Fu for nearly ten years, so many times we don't have to live, and we can act after a little talk.
Q: What about your new work?
Wang Sheng: The new work is right.
Q: Do you write more new works now or do you have more Miao Fu teachers?
Wang Sheng: We rarely write it all word by word, and after having an intention, we will sort it out, take out two people to study which places can be added, which places can be subtracted, find time to repeat it, and then use the text to drop it after the end, and then continue to trim the text.
Q: So it's hard to say which work was written by whom.
Wang Sheng: I don't know what other creators look like, I think that in the end, this thing is definitely not out of the hands of one person, it must be eclectic, after countless times of pressing, at least twenty or thirty times, forty or fifty times of performance, other people put forward opinions, this can be achieved. It is impossible for a person to write one and take it to the stage.
Q: Knowledge-based works were once very popular in the 1980s, and Liu Wei, Feng Gong, Ma Yunlu and Liu Ji all said that such works are still needed in the current era? Your "Full Belly" has a little bit of a work like this, but it is also relatively entertaining.
Wang Sheng: First of all, don't try to convey knowledge, it's not your responsibility, but you have to know what these things you use in your work are, be accurate, this is your material. Lu Xun said, "Exposing the suffering of illness has aroused the attention of healing", and when the audience heard about this matter, the brain hole was more curious, and he went back to open the book, which meant that we also played a little role. You said that you were going to talk about a history of Chinese literature in these 40 minutes today, and then you strangled him and he couldn't talk about it, and no one listened.
Q: I also talked about the problem of human design and the performance style of the actors, has anyone said that your performance style is relatively single?
Wang Sheng: It's not that there are any, it's always been said. Now we can see our performances circulating in the media, basically like this, sometimes we go out to video people want this style, other styles have not come to the theater to see people do not know.
Q: There are a lot of styles.
Wang Sheng: Well, if you only have these few hands, you won't be able to reach this day.
Q: So how can more forms be passed on, and does this have anything to do with the media's demands?
Wang Sheng: You can't be harsh on the TV station, the TV station wants you to have such an element, what do you say you do? You said that we have four times in this paragraph, and if you have eight times, he will ignore you, and he only wants you to do this twice. It is reasonable to say that now that self-media is developed, everyone can pick up a mobile phone to take pictures, but I think this is not the way to really understand crosstalk, the real way is theater. I still think more old-fashionedly that walking into the theater to see crosstalk is the most intuitive, seeing the crosstalk that is most similar to crosstalk, and what you see on Douyin is not.
Q: For example, if the audience in this theater has been filming and recording live broadcasts, will you stop them?
Wang Sheng: According to our regulations, audio and video recordings are strictly prohibited, and if he secretly records for ten or twenty seconds, you will not be able to control him. Even if you want to make the audience known, you shouldn't let people record it directly here.
<h1 class="pgc-h-arrow-right" > "'Anxious' is one of my favorite cross-talk works."</h1>
Q: The performance video Internet also involves the problem of plagiarism, and now cross-talk plagiarism has almost no cost, and some people are affected by this and do not write new jobs, which is a more prominent phenomenon now.
Wang Sheng: Asked for the idea. As a member of the Committee on Industry Atmosphere and Moral Construction of the China Qu Artists Association, I would like to talk about this matter. The plagiarism incident consists of three parties, the author, the premiere actor and the plagiarized actor. From the author's point of view, plagiarism is a great disrespect to the author, and the actor uses the work of others to give people money, which is natural. You see a good job, before figuring out who the author is and the payment method, no one should act, if the last check this work is written by Hou Baolin, then I will act. We can't shoot all the unconscious, the country doesn't have so many guns. The actor's self-consciousness and social general regulatory compliance are the same, and they have to be gradually cultivated, because the industry has been loose for a long time. Second, the premiere actor has the obligation to popularize and publicize this work, and after the performance, whether it is good or bad, he must tell the outside world who wrote it. If the actor doesn't have time to say it in the theater, the host can say it for you, and you can also say it on the self-media. The third is to copy the actor, he needs to respect the premiere actor, need to respect the author, but also respect the cross-talk industry. When these three parties get together, they must also say one thing, do not be conservative. The author said that I live at the bottom of the box and can't give it to others, which is not OK. Mr. Zheng Xiaoshan (Wang Sheng's master, Miao Fu's master, died on June 24, 2019) told me that there was something to ask me quickly, and the two of them could not go to the grave with their words, which was the old man's enlightenment. The core of the cross-talk industry has shrunk smaller and smaller, of course, the extension is now getting bigger and bigger, the old man is getting less and less, the young actors are becoming more and more obvious, and there are so many people in our generation who can really stand on the stage to perform. Now it is said that the cross-talk fire, the fire is on the vibrato, the real practitioners are very few, so do not be conservative, we must carry out effective communication, so that a large number of works circulate. An actor performs 20 new jobs a year, leaving two sentences. At that time, Mr. Yuan Jianbang told me, don't think that you can become a job by writing a job, you write a job and leave a burden, you insist on ten years and have a new job. Therefore, the first industry is self-disciplined, and the second is not conservative.
Q: It seems that you already have an idea of comparing systems.
Wang Sheng: I didn't have the solution, I realized that I had arrived. The method has to be thought by the "meat eater", and we have the right to suggest and not the right to supervise.
Q: Now there are more bowls of cross-talk, but fewer people who really play creative. Teacher Li Jing said that many young actors have always said traditional works, and he believes that traditional works are used to learn cross-talk when they are young and to retire when they are old, and they should exert their creativity to create new works when they are young.
Wang Sheng: I have also talked to Li Jing in this regard, but actors need a process to earn money by new jobs, and the production process is relatively slow. Second, many young actors can't reach the ability to write new jobs, and the most important thing is that new jobs are not to come up with one to make people admit it. Everyone should move, all start to write, batch by batch of works, and slowly become the climate. Traditional work is now overdeveloped and overused, because the current rise of this crosstalk is to rely on traditional work, and you can still have an effect when you return to the past and repeat the new work of the past, depending on whether anyone does it.
Q: From the mid-to-early 1980s to the early 1990s, it was a ZTE stage of crosstalk, with so many new actors and so many new works, but the tradition was also abandoned a lot.
Wang Sheng: It is inaccurate to say that it is abandoned, and a large part is also retained. An era has an era of art, and the trend of that era is like that, guitar crosstalk, wearing a suit and saying fresh crosstalk, which is composed of various elements. It cannot be said that it abandons tradition, and if it is completely abandoned, it is not a crosstalk.
Q: I watched the big comics they were changing some of the classics of the 1980s.
Wang Sheng: We are also making a lot of changes.
Q: Do you think this is the way?
Wang Sheng: It is not a question of the way, the life of the 1980s is also a traditional life, why can't those works be re-enacted?
Q: Many years ago, as a cross-talk audience representative, I used to talk to the CCTV Spring Festival Gala language director about opinions and suggestions, and Teacher Zhao Fuyu was also there, and I said at that time why I couldn't change a new version of "Anxious", and the things that people are anxious about in the new era are different.
Wang Sheng: "Anxious" is one of my favorite cross-talk works. I have changed a version of this work, but it is immature and has not yet been performed. Mr. Liang Zuo wrote this thing too well, the rational road is clear. What is a classic? It is to leave any era after that is not outdated, it is worth thinking about it repeatedly and listening to it repeatedly, and many of Mr. Liang Zuo's works are like this. One of the examples is "In a Hurry" and the other is "Threat" by the cattle. These traditional works can be re-performed, and if they are not performed well, it is a matter of ability, and whether they are performed or not is a matter of attitude.
<h1 class="pgc-h-arrow-right" > "crosstalk still has to return to its original state, just stand here and say."</h1>
Q: It is said that there are so many small theaters in the country now, and the program list is similar when you look at it.
Wang Sheng: The "riddle" that can't be played, the "deaf and dumb" that can't be learned. However, everyone must also be tolerant, because the consumption of normal performances on actors and programs is very large, an actor can do not turn over for a month, two months without turning over, half a year without turning over, but how many years does a theater open? Even if you don't turn over for two years, do you still have to turn over in the third year?
Q: For your commercial performances, is the rhythm still OK?
Wang Sheng: It's normal.
Q: There is still time to create works.
Wang Sheng: There is time to polish it.
Q: Tell me about Teacher Miao, who also commented on you.
Wang Sheng: He also complained about me, right?
Q: He praises you.
Wang Sheng: I don't dare to say anything bad about the provincial leaders.
Q: He is not like he was for a while now, and he can't move to say two amazing words on Weibo.
Wang Sheng: It may be that there is less wine to drink now.
Q: You have always been relatively calm, and when you talk to young actors, are you sometimes anxious?
Wang Sheng: Urgent, I am famous for my sour face. Which of those people on the stage just now didn't let me scold? In fact, I have a more grumpy personality, and I am a person who is more acute.
In April 2019, Wang Sheng directed the actors in rehearsals at the theater. This article was taken by the author
Q: It's better disguised.
Wang Sheng: Because I know that I have such shortcomings, I have to pretend a little, and I also have to practice cultivation.
Q: Let's evaluate Mr. Miao's business.
Wang Sheng: There is nothing to evaluate, there are so many young cross-talk actors in the country, there are few who can reach his level.
Q: His performances are always so hot and full of spirits, you call it "selling".
Wang Sheng: You have not seen his master, Mr. Zheng Xiaoshan's performance is like this, he is more rushed on the stage, forming a self-performance method, as soon as he enters the performance state, he is excited, how to act is smooth.
Q: Did you feel like it worked with him in the first place, or did you go through a process?
Wang Sheng: Actors have to grind. From 2006, it was not until 2011 and 2012 that the tacit understanding slowly began.
Q: In the face of a comic whose performance is relatively hot, how can an actor who wins the job not make people feel that he is deliberately stealing the scene?
Wang Sheng: This has to be designed, and if the two people don't design it, they will lay it flat and say it, and they can't say it for a lifetime.
Q: There's a word that says "rebellion."
Wang Sheng: It is not today that Feng Gong wants to "rebel", the cattle and Feng Gong cooperate, and Feng Gong will always be the one who shakes the burden.
Q: But when we were kids, we didn't think it was very abrupt.
Wang Sheng: The two people are very suitable, and the program effect can be achieved, which is enough.
Q: Yes, there is also Jia Jiguang and Wei Lanzhu who jointly said "Huashan Qunying", and Bao Bao'er is also holding it there. Teacher Jia Jiguang said that the baggage is suitable for whoever is there.
Wang Sheng: Yes, they have played double reeds, and Mr. Wei Lanzhu has made a appearance, so no one can do it for him.
Q: You two have less of this situation, and it stands out to the point of praising the works here...
Wang Sheng: No. I myself don't like this so-called "inverted three seven" work. My master taught me how to act, and I did what he taught me, but in fact, I was already very hot in some places now, and if my master were to be angry, he would be angry.
Q: Sometimes, the audience wants to see some honest "anti" made.
Wang Sheng: I think this is a kind of retrograde mentality formed in the current cross-talk performance, a bad habit formed in the theater performance, it will destroy the performance rhythm, and it will be harmful to the program. You have enjoyed this period, so what should you do when it finally runs to the "bottom"?
Q: Speaking of "bottom", in the past, the bottom was generally a big burden of crosstalk.
Wang Sheng: It must be big.
Q: But now, a lot of times the audience feels that way, huh? That's the end of it? The curtain closed?
Wang Sheng: Mr. Zhao Peiru said, he said zhang Shouchen said, the bottom does not make a sound, what do you say crosstalk? But now a lot of the bottom is not loud.
Q: A lot of times, I keep emphasizing a sentence and repeating a sentence, and this sentence is basically the bottom, and the same is true of "This Is Not Mine". Didn't exceed audience expectations so it wasn't too loud.
Wang Sheng: I am also embarrassed.
Q: Is this directly related to the current cross-talk technique? Many works are relatively fragmented, and the parts do not form a gradual relationship, so in the end there is no way to return to a large enough bottom. For example, when "Tiger's Mouth Reverie" was about a complete event, in the end, everyone could not shake hands with their pants, which exceeded the audience's expectations.
Wang Sheng: At present, the degree of art is still not enough, and the degree of grasp is not enough. A crosstalk is for the bottom to serve, you can't even make the bottom sound, why do you eat?
Q: It's kind of like a mediocre movie.
Wang Sheng: Yes, there is no climax, you watched "The Last Night on Earth".
Q: It's flat, long shots from start to finish.
Wang Sheng: You can do it in the art theater line. Crosstalk lacks a strong bottom, or the creator's ability is not strong. Including us, it is the same, the bottom is not loud is not understood in front of the head, confused cross-talk.
Q: According to the current state of development, whether it is entertainment or interactive enhancement, do you think that there will be major changes in the performance of cross-talk in the future?
Wang Sheng: I want to say that in the end, crosstalk must return to the most primitive state, that is, the two people stand here and talk, stand here and sing, and even that kind of large-scale running will slowly disappear in the end. Crosstalk is such an art, how everyone wants to change and how to change...
Q: Don't call it crosstalk.
Wang Sheng: You are another art form, you set up a different sect. You are on fire again, and the audience in the Great Hall of the People is not willing to leave and let you stay for three days to continue to say, that is another form of performance, and it has nothing to do with us. You can say on stage that I borrowed a lot of cross-talk performance techniques, which is your conscience. All the comedies in this world are inseparable from the three turns and four shakes, who can leave you are a generation of masters. At that time, those old gentlemen who said cross-talk were all human spirits.
Q: Are you optimistic or pessimistic about the changes that may occur?
Wang Sheng: Not optimistic, not pessimistic. Uncle Jin Dou once said to me, grandfathers, this world is always unlucky to push the lucky, lucky never know that they are going to be lucky. What does that mean? No pole Tai Lai, things must be reversed, you always think about how our art is like this, don't worry, the dragon has regrets, the hidden dragon does not use, this is always a cross-evolution process.
Q: Hopefully. There is a theory that laymen ultimately determine an art, such as Peking Opera versus Kunqu.
Wang Sheng: It is always the layman who determines art. I will ask you, is Peking Opera still there? Kunqu opera is still there, right?
Q: But Kunqu opera is now not as hot as Peking Opera.
Wang Sheng: Don't worry, an era has an era of artistic trends, and I am not worried about my girlfriend. In Beijing, I talk to a lot of people, they all say you are really optimistic, I said not optimistic, we can't do anything, because the current world of crosstalk is such a world, every day I see my heart terrified.
Q: It's really like Mr. Hou worried.
Wang Sheng: It's not that Mr. Hou is worried, some of the performances are now offensive, and this is not a question of whether crosstalk can be said well.
Note: Unless otherwise noted, the pictures in this article are from the Internet
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