When it comes to the topic of cross-talk, old audiences will naturally associate the "Spring Festival" with it. In the old society, cross-talk was also known as "Yan Chun". And this word is derived from the Jianghu Spring Festival, which is commonly known as "Hanging Kan'er". The Spring Festival does have its necessity among the artists who broke into the rivers and lakes in the old society, and it is also a means of self-protection for their peers. In the past, the old cross-talk artists would more or less say a few words of spring ceremony, which was a compulsory course when learning art from a teacher. However, it is not so simple to say that every sentence of action sits down and walks with spring code. There is really such a person who can achieve the "full spring and full ceremony", he is the familiar "young Guo Ye" Guo Quanbao.
Mr. Guo Quanbao is easy-going and loves to joke with his peers. Not only do they love to hang others, but everyone is willing to hang them. Just because he had a good temper, he didn't pay attention to it and laughed at it. But when it comes to "hanging kan'er", no one in his peers can compare with him. If Shao Guo Ye comes to hang Kan'er, you talk to him for a week, and he can say one kan er at a time. If you let a layman listen, it's like speaking a foreign language. Guo Quanbao not only mastered the spring classics and was complete, but also used them appropriately. Therefore, in the cross-talk industry, it has fallen under the nickname of "Kanerguo".
In addition to "full of spring and full ceremony", Shao Guo Ye is also a good role worthy of admiration in the business field. Guo Quanbao studied under Yu Junbo, an old cross-talk artist in Beijing, and there is another remarkable figure who accompanies him, that is, Bai Quanfu. But today we still seriously talk about the highlight performance of Shao Guo Ye on the cross-talk stage.
When it comes to Guo Quanbao, the old listeners will habitually think of the names of the two pairs of partners "Hou Baolin, Guo Quanbao" and "Liu Baorui and Guo Quanbao" in their minds. After the liberation, after the glorious retirement of the Old Guo Ye from the Zhongguang Rap Troupe, Shao Guo Ye took over the heavy responsibility of giving praise to the two cross-talk masters. Giving a tribute to a master is not an easy task, and although Hou Baolin and Liu Baorui are both Beijingers, their performance styles are very different. If it is a thousand-person side of the praise style, not only affects their own artistic level, but also for Hou and Liu two partners is also a wound.
When Shao Guo Ye measured Hou Baolin's work, he adhered to the principle of "taking the square and getting round". When Mr. Hou made a heavy job, Guo Quanbao never grabbed the baggage and blocked the baggage, and he guaranteed every word without leaking, and at the same time left Mr. Hou plenty of room to display his talents. When giving Liu Baorui a praise, Guo Quanbao had a "return to nature" side. Timely and moderate baggage, as well as witty and playful tone, can be revealed in the paragraph.
In fact, many viewers regard Guo Quanbao as a "giant master", but such a statement is not comprehensive. Among the national treasure character cross-talk artists, Shao Guoye's praise level is a first-class level. However, he is not a lifelong professional worker, and in the surviving recording materials, the number of works by Guo Quanbao's teasing and stand-up is also considerable. For example, the "Selling Estimated Clothes" and "Porridge Pickers" that cooperated with Mr. Guo Qiru in that year, and the "Theory of When Doing" and "Making Coats" that Liu Baorui held for him, are not inferior to Hou Baolin and Liu Baorui in terms of performance level alone.
In addition, Guo Quanbao's traditional stand-up comedies such as "Confused County Official", "Eating Dumplings", "Three Myopias", and "Borrowing Fire" also have a very distinct personal artistic style in the method. The meticulous, friendly, loose and tight performance made the audience feel that the actors on the stage were not deliberately performing but chatting with the audience. While diluting the traces of the performance, it also unconsciously shakes the baggage.
It is rare that cross-talk actors can be single and double, and they are both funny. But Shao Guo ye's ability is more than this, and the double reed is also one of his most handy skills. In his later years, Guo Quanbao also often cooperated with Luo Rongshou in double reeds, and The appearance of Guo Ye went to the front face of the people who saw the joy, as long as he dressed up, he did not have to act, and there was a burden when he sat on the stage.
Among the cross-talk artists of the same generation, Shao Guoye's artistic attainment is undoubtedly comprehensive and of a fairly high standard. But perhaps it is also the reason why the organization after liberation arranged for him to give praise to the two cross-talk masters, under the aura of the master, his popularity and artistic level have been underestimated by the outside world. For the achievements of Guo Quanbao's cross-talk art, it can be fully evaluated as: holding up the giants of the two cross-talk masters with both hands!
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