"Picking leaves" is originally a proper noun in the cross-talk industry, which refers specifically to the masterpiece of borrowing a certain baggage from a peer or making someone else in the performance. Some people may think that such behavior is tantamount to plagiarism and plagiarism, which is equivalent to robbing the jobs of peers. But there is an exception, for example, Mr. Ma Sanli's pole work "Buy Monkey" is a well-known classic of Duan, when Ma Sanye made this piece of work created by Mr. He Chi sound, Liu Baorui once found him and proposed that he also wanted to perform this paragraph, when Ma Lao unreservedly gave the original manuscript of "Buy Monkey" to Liu Baorui free of charge.
Many times, in fact, as long as the original performer agrees, or even the "remake" is more brilliant than the "original", usually the original performer will not be jealous, but will be very pleased. Because the more peers who "pick leaves" in this way, the more refined the performance skills of the actors can be improved. Ma Sanye is highly respected in the cross-talk industry, and Liu Baorui was not the only one who came to him to "pick leaves" in those years. Like Wei Wenliang's "Beauty Praise", it was also requested from the master. But only Mr. Gao Yingpei is different from other peers, he "picked leaves" for two generations of Ma's father and son. From Ma Sanye to a section, after re-interpretation of the shine, from the young Ma Ye also covered a section, but the performance effect can only be regarded as unsatisfactory. Since they can all be more popular than Ma Lao, why did they lose to Shao Ma Ye? In the end, which two cross-talks between Ma's father and son made Mr. Gao eager to try?
Old audiences should be able to guess that it is "Fishing" that Mr. Gao got from Ma Sanye. This cross-talk was first adapted and sorted out by Guo Rongqi based on small jokes circulated by folk, and was originally pulled out according to stand-up comedy. Later, Ma Sanli and his old partner Zhang Qingsen put it on the stage in the form of cross-talk. Ma Sanye's "Fishing" is extremely delicate in character portrayal, and is good at reflecting the personality characteristics of different characters through character language. For example, "Oh, (empty shot) The child bathes in the jing river." I was watching there, and we didn't dare to take the hook. syllable! Scratch a child's head, what about this? This kind of tone is only available to Ma Sanli. Regrettably, Ma Sanli and Zhang Qingsen's version of "Fishing" did not cause much repercussions at that time.
Later, Gao Yingpei wanted to take this job, and then carried out the second degree of processing and creation of the "booklet" according to his own performance characteristics. Mr. Gao's typhoon has always been hot and enthusiastic, and the image of "two his fathers" created in the paragraph of "Fishing" also happens to be in line with the warm and cheerful personality of Tianjin people. In this way, there is a high degree of fit between the performer and the cross-talk segment. The fiery baggage burst out one after another, and the audience's great excitement is the inevitable result. After many years, when everyone is talking about Gao Yingpei's masterpieces, I am afraid that the most frequently mentioned in addition to "Unhealthy Winds" and "Lessons", I have to say that it is this "Fishing" that I have never tired of hearing.
After the passage from Third Master Ma was very successful, Mr. Gao asked for another paragraph from Young Master Ma. This passage is the "Hesitation" that Ma Zhiming and Huang Zumin once performed. This passage may not be a pole job in Shao Ma Ye's works, but it vividly interprets Ma Zhiming's "criminal dog" just right. Another example, the horse: "I threw this steel hammer, and I grunted and fell into the pit... I look, I see if the word is boring. ”
Even if you only listen to the recording, the audience can see the actor's movements, expressions, and demeanor at that time. The whole work from the pad to the living, and then to the bottom of the baggage, can be described as a seamless integration, the language is concise, the rhythm is relaxed. In general, although Shaoma's "Hesitation" is not as popular as "Dispute", every line can withstand chewing and reminiscence.
Mr. Gao Yingpei has also worked with his beloved disciple Meng Fangui in this section. Objectively speaking, the baggage of the sound is indeed sounded. It's just that the process of laying out the outline always makes people feel warm and swallowed, and the language expression is slightly dragging mud and water. From a bystander's point of view, the actor's performance is difficult to bring the audience into it. And Mr. Gao's consistent fiery tone is even more difficult to show in this cross-talk.
The cross-talk actor's "dismantling and washing" of his peers is also a science, well said, changed skillfully, and can be a blockbuster from now on. But if you move a tailor-made paragraph, you may not fit properly when you wear it on your body.