Wang Yuebo: A brief discussion on the use of cross-talk elements in the commentary

I grew up learning crosstalk, and I started learning to review books at the age of 12, not because I wanted to deliberately merge the two at the beginning. When talking about books, many of the means of creating "baggage" in cross-talk have received very good results, so I, who tasted the sweetness, began to apply a large number of cross-talk elements in the book review under the approval of the teacher and the audience, and gradually became a style. Some people call my performance a "humorous commentary", which is actually not very accurate. Crosstalk and storytelling are two traditional rap arts that I learned since I was a child, and there are many similarities among them.

First of all, the formation of cross-talk is later than that of book reviews. The "eight sticks", "stand-up" and "through the mouth" in cross-talk are all unaffected by the influence of book evaluation, so the predecessors of cross-talk have referred to book review artists as teachers. Now, if a cross-talk artist accepts an apprentice, in addition to the master and the three divisions of "introduction, protection, and generation", they also need to ask the head of the line and the "four gates". The so-called "four gates" are martial arts practitioners, juggling artists, storytellers and singers singing single strings. Gai does not forget the beginning, cross-talk draws nutrition from these four disciplines, and benefits a lot.

In addition, many of the old book reviewers will say cross-talk, and some of the old cross-talk actors have also said book reviews. There is an old scholar named Wang Zhijiu, who often says cross-talk, cross-talk art name Wang Debao, good at "passing the mouth" work, the commentary is good at saying "The Great Song Eight Righteousness", and his disciples include Wu Jiesen, Xu Jiequan, Chang Jiemiao and so on. Chang Jiemiao compiled a set of "Yongzheng Sword Hero Diagram", which was on fire at Jinmen, and there were many practitioners, and there were words circulating. According to this book, I also staged "Yongzheng Sword Man Diagram" at the Dongcheng Library, which has been said for more than seven years and has not yet been completed. There is also a Mr. Chen Rongqi, a commentator of the Xuanwu Rap Troupe, who is good at saying "Jingzhong", and he also said crosstalk when he was young. Jiao Dehai's son, Jiao Shaohai, once visited Wenfu as a teacher to learn the book, and could say "Yongqing Shengping". Jiao Dehai's apprentice Zhang Shouchen also said that his apprentices were mostly Shushumen rather than Xiangshengmen: for example, Tong Dafang said that Xiangsheng was Guo Qiru's apprentice, and that Pingshu was Zhang Shouchen's apprentice, and his stage name was Tong Cunzheng. Zhang Shouchen's apprentice Liu Baorui also spoke of commentaries, and later spoke of stand-up comedy, and was known as the "king of stand-up comedy". Guo Qiru also has an apprentice named Qi Xinying, who speaks cross-talk in the youth qu art team, but the stage name is commentary, and he and Tong Xinkui are both apprentices of the famous critic Zhao Yingpo. Liu Lifu, an old scholar in Tianjin, was Chen Shihe's apprentice grandson, specializing in "Liaozhai", and was also an apprentice of Zhang Shouchen, who also spoke cross-talk when he was young. My cross-talk master is called Zhao Xiaolin, my master's name is Zhang Xilin, also said to be a storyteller, there are also portals, and the stage name of the storyteller is Zhang Yintang. Now young cross-talk actors, in addition to me, there are also storytellers, I will not list them all.

Cross-talk and storytelling are all language-based rap art, and many basic skills are the same, such as clear speech, pronunciation requires standard, correct, good shape, bright and sweet voice, and full five tones. We all have to learn this from opera actors. Moreover, the knowledge must be wide, and the more it accumulates, the better, which is very important for cross-talk and book evaluation. The "eight sticks" in cross-talk and "stand-up comedy" are closer to the commentary, taking a story as the carrier, and also tying the "button", but the "baggage" is more than the commentary, less than the stand-up comedy, the end of the commentary must be "buckle", and the cross-talk must be "baggage". Most of the commentaries are very positive, even if they are wild history idle texts, artists should also be serious history, so that the book holders can be convinced. Cross-talk is not the case, it is also zhuang and harmonious, and the characters, language, and historical materials are allowed to be less accurate, but they cannot be too outrageous. There is also a lot of content about book commentary in traditional cross-talk.

When I am talking about books, the use of cross-talk elements is probably in the following ways:

First, directly say the original word of crosstalk. For many cross-talk works, the book holder can be familiar with it. As soon as I said it, I knew which piece of work it came from, and sometimes it was used appropriately, and the effect was very good.

Second, the means of creating "baggage" in cross-talk are used in the commentaries, such as "three times and four tremors", "eating and vomiting", "distorting the meaning", "saying the opposite". I have learned these methods since I was a child, and I am more skilled in their use, so when I use them in the commentaries, I can achieve unexpected and wonderful results.

Third, the "laying the groundwork" of cross-talk is very important, and it also applies to book review. The "baggage" in the book is squeezed out, more like the "hanging" in the cross-talk, and the commentators rarely deliberately set up "baggage". Operating a "baggage" requires careful conception, exquisite design and sufficient preparation to complete it well, and the "baggage" can shake brittle and turn accurately.

Fourth, a means of absorbing cross-talk interaction: "smashing and hanging". Now in our library to say that the book has a front and back field, the original library is an actor, now three actors, the echo is not only in the bibliography and performance style, its specific content, skills and means should also be considered. For example, the front-court actor has a large number of "back mouths", and the back actors should try to avoid it. Cross-talk actors are good at capturing the details of the performance of the front-court actors, such as some language, actions and even slips of mouth, causing a strong reaction from the audience, then the copy or ridicule of the backstage actors will make the audience feel hearted and laugh. I incorporate this technique into my storytelling performances.

In addition, there are some fixed "smashing" links in the commentary. For example, there are often some "bad in the fetus", "a bag of pus", "gaza" and "glass ball" type characters in the commentary, although they have little to do with the main plot, but they are often "baggage points" that can make people laugh. When performing, the actor deliberately "Zhang Guan Li Dai", the guy who took the water "smashed and hung", the audience will be heartbroken, and it will inevitably be hilarious.

Fifth, integrate the long talk of cross-talk into it. The accuracy of cross-talk language is difficult to compare with other arts, "size" and "momentum" are almost not good at all, but it is loose on the outside and tight on the inside, rambling, so that the audience is very relaxed. I now also borrow this way of acting to speak the book, unconsciously introducing the audience into the plot.

Sixth, the description of the environment that creates the atmosphere and the meticulous character portrayal are used in cross-talk, which has nothing to do with this article and is introduced in a separate article.

The audience seems to be more in agreement with my current performance model, and since everyone likes it, I might as well stick to it. I hope that book review and cross-talk will be better combined, and I will continue to work hard to say good reviews and good cross-talk!