As the saying goes: "People go high, water flows low." This is a good word for the absolute number of cross-talk artists, and stepping on a higher stage means that there is more room to display their talents. From the perspective of the cross-talk circle alone, it is enough to get confirmation. For example: Gao Yuanjun and Hou Baolin of the older generation, one in the army, one in Zhongguang. Tianjin cross-talk masters of the literary generation such as Ma Ji, Gao Yingpei, and Wang Peiyuan are all like this.
The level of the artistic platform will have a profound impact on the actor, in a small way, it determines whether the actor can make a name for himself and become a household name; in the big picture, it is related to the achievement of the actor's entire artistic career. But whenever there is an opportunity to climb to a higher development platform, everyone will not easily miss it. However, have you come to a high-quality platform that is not as good as before? Of course, the most typical example is Zhao Weizhou, who is most familiar with and loved by everyone.
Zhao Weizhou's cross-talk performance style, artistic insight and creative talent have been elaborated in many previous articles. It is most appropriate to borrow the evaluation of Zhao Weizhou by Mr. Liu Lifu, a famous critic. Mr. Liu once said: "When the big bald man (Zhao Weizhou) was two or three years old, he held a side board in his hand and sang 'How is it that a big sister-in-law is so dark, support a child to race bituminous coal', Wei Zhou he played small is here. It can be seen that Zhao Weizhou's understanding of cross-talk is innate, and he is born to speak of cross-talk materials. When he was a teenager, Zhao Weizhou and Wang Peiyuan were in the Tianjin Quyi Troupe Youth Training Team, learning art with Zhu Xiangchen, Bai Quanfu, Su Wenmao and other cross-talk predecessors. Later, he followed the city troupe throughout the country to perform, and most of the time was spent in the cross-talk garden and small theater.
Zhao Weizhou's creative talent is admired and admired by his peers, and it can be said that almost all well-known cross-talk actors in the country have performed his works. It is precisely because of his outstanding creative standards that he was invited by Hou Yaowen to join the China Railway Literary troupe many times. After several thoughts, Zhao Weizhou finally accepted it gladly, and thus officially became a cross-talk actor with a compilation. I thought that the platform of more China Railway would make this cross-talk ghost shine, but the reality is difficult to fulfill people's wishes.
Perhaps many viewers who love Zhao Weizhou have been lamenting his low-level mistake in the 2002 CCTV cross-talk competition, and even blamed Zhao Weizhou's failure to become famous on the pediatric problem of "double reed is not a song art". In fact, Zhao Weizhou's real mistake was to take this step by mistake and step into the threshold of the Chinese Railway Cultural and Labor Corps.
At that time, Hou Yaowen brought Zhao Weizhou to China Railway, and in the new environment, because he could not find a suitable partner for a while, he could only be responsible for cross-talk creation. The excellent cross-talk works written have been successively put on the stage by Hou Yaowen, Shan Lianli, Gao Yuqing and others. Although Zhao Weizhou finally waited for the opportunity to take the stage later, he still did not have a fixed partner. During his time at China Railway alone, he had brief cooperation with Shan Lianli, Yan Yueming, Li Jiacun, Gao Yuqing, Liu Hui and others. However, even with the opportunity to perform, he himself has always been tepid.
It is not that the cross-talk audience does not recognize the creation, nor is the performance level unsatisfactory. The key is that although the platform of China Railway is high, no one can cooperate with him for a long time. Frequent change of partners will greatly reduce the popularity of cross-talk actors in the audience. In these years within the system, it has not helped Zhao Weizhou to reach a new artistic height, and even gained little in fame and fortune. Like Hou Yaowen's female disciple Shan Lianli, who was already rated as a national first-class actor many years ago, Zhao Weizhou did not enjoy the honor he deserved because of his outstanding talent.
After walking out of Tianjin Xiangsheng Garden, he joined hands with Liu Wei, who also had two white sideburns, to return to the starting point of performing arts in the year of huajia. Although the audience will not feel that the cross-talk ghost is already a hero and twilight, for Zhao Weizhou, who is full of good ability but has not enjoyed a big name in his life, he will leave sighs and helplessness.
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