In the late 1980s, it was the golden age of the CCTV Spring Festival Gala, and it was at that time that I began to watch the Spring Festival Gala. Before the Spring Festival Gala in 1988, my family had just added a tape recorder, and when the Chinese New Year's Eve the evening was live, My father pressed the recording button to record all the programs of the night. So I listened to the recording of the party this year repeatedly, and I was deeply impressed by the "Qiaoli Name" performed by Niu Herd and Li Lishan.
However, when I was in the second grade, I didn't understand some of these lines very well, and I was unfamiliar with foreign names like Pavlov and Michurin, but I could tell from the reactions of the audience that it was a very popular cross-talk.
Then the Spring Festival Gala went through many years, and only later did I slowly discover that it was too rare for the Spring Festival Gala to appear such an ironic cross-talk work as "Qiaoli Name".
Over the years, I have chatted with some cross-talk actors, and more than one actor has told me that Teacher Li Lishan's work for people can be regarded as praised in the industry and has a good reputation. His apprentice Teacher Chen Suo also told me not to look at his master's great ability and high rank, but this person is usually extremely low-key.
In the three hours of interviewing Teacher Li, I could also clearly feel this person who has rich experience and is capable of doing things but not showing off. Over the years, he has been obsessed with guiding literary and artistic creation in various places, but he told the other party not to sign his name, he enjoyed the creative process rather than seeing his name on the award certificate. He said that he would rather go where no one knows him, some people call him a hermit in the cross-talk world, he said that he really wants to be a hermit, people have something they don't understand can ask, but don't go around publicizing him.
As an important collaborator of the herd, he is very knowledgeable about the character of the herd. He believes that the cattle have the persistence and temper of the cattle, and his success is due to this character, and his failure is also due to this character. As for the choice of the cattle to leave him to cooperate with Feng Gong, Teacher Li treated it calmly and said that he could understand.
Looking at the face of his apprentice Chen Suo, the plain and low-key teacher Li Lishan agreed to accept the interview and chatted for half a day. At the end of the interview, I drove him to the door of the comrade-in-arms cultural and labor troupe where he was, and when I got out of the car, Teacher Li smiled and said, When you proposed the interview, I was afraid that I was not my own person, and I knew that it was my own person.
Li Lishan was interviewed. Yang Ming photographed
Interview with Li Lishan
Li Lishan: Born in 1949, from Tianjin. Since childhood, he has loved crosstalk and allegro, and at the age of 12, he took the stage to perform allegro. In 1969, he joined the army and gradually changed from allegro to cross-talk performance, and successively performed with Xu Xiulin, Niu Qun, Shi Shengjie, Li Jindou, Yang Zhenhua, Li Boxiang and others. In 1988, he and the cattle appeared on the CCTV Spring Festival Gala to perform the satirical cross-talk "Qiaoli Name", which aroused strong repercussions. In 1990, he took Gao Yuanjun as his teacher. As a pioneer of cross-talk higher education, he has taught in the cross-talk composition and performance college class of the Central Academy of Drama and the quyi college class of the China Academy of Drama. There were apprentices Jia Xuming, Jin Yan, Chen Shu, Ma Chunran and so on. Cross-talk masterpieces include "Qiaoli Name" and "Wife's Praise and Criticism".
"I didn't expect lanzhou to have cross-talk actors like you"
Q: Are you a peer of the Republic, a native of Baodi, Tianjin?
Li Lishan: My father was born in Baodi, and I was born in Tianjin and grew up in Tianjin. Didn't Baodi shave his head? My father shaved his head and cut his hair at the Tianjin Printing and Dyeing Factory after entering Tianjin.
Q: What was your first favorite, the Allegro book?
Li Lishan: I actually said crosstalk at the earliest. I liked crosstalk since I was a child, and another child first said "Five Red Figures", there is no teacher, Tianjin has this atmosphere. In 1958, when he "eliminated the four harms", he wrote about the big smelting of steel and organized us children to go out to publicize. Coupled with the fact that Li Runjie was on fire later, many people in Tianjin at that time who said cross-talk turned to allegro. At that time, Tianjin was full of allegros, not to mention that quyi relied on smoking, so later I also began to talk about allegro.
Q: You performed on stage when you were 12 years old, was that a formal stage?
Li Lishan: In the auditorium of the Hebei District Cultural Center, I sang well at that time. Many years later, I went to the Lanzhou Military Region Cultural and Labor Troupe, where some people still remember that I sang well in Tianjin Allegro. He asked me what I was doing, and I said I was talking about crosstalk, and he said it was not easy to do, and he said that you look too beautiful. In fact, it is too beautiful for me to say, but it is true that the cross-talk people are relatively good-looking, and the first time I saw me say cross-talk, it may not be easy to be amused when I look at this look.
Q: Cross-talk actors are more likely to be pleasing to the table because they have characteristics.
Li Lishan: In the same sentence, Liu Hui and Chen Hanbai's appearance is easy to make people happy, and my appearance is even more difficult. Let's just say Feng Gong, is he allowed to say that xiangsheng is so good? But Zhang that look, as soon as he said that the audience loved music. As soon as he said, "I want to kill you", the audience laughed, others said that people still hate you, do you want people to think of you?
Q: When did you worship Mr. Gao Yuanjun?
Li Lishan: Then I have all been to the Beijing Military Region, in 1990.
Q: So late?
Li Lishan: I pray late.
Q: What are the considerations? Or has there always been no right person?
Li Lishan: I don't have the concept of worshiping a teacher, especially since I am in the army. Mr. Gao Yuanjun first proposed to me Chang Baolin, the second grandfather of Bailan Prefecture, and later wanted to recommend Bai Wang Fengshan to me, but the coincidence was not appropriate. In a few years he said to me directly, you worship me. He is the only apprentice of Chang Lian'an. In this way, Mr. Gao accepted me as an apprentice of Xiangshengmen, and my allegro was Mr. Li Runjie, who was worshipped by "Brother Daila".
Gao Yuanjun performs Shandong Quick Book
Q: In this way, you will have a formal teacher for both crosstalk and allegro. When you joined the army in 1969, did you go directly to the Lanzhou Military Region?
Li Lishan: I joined the army in Yinchuan, I did not join the army in Tianjin. In the spring of 1968, the Air Force of the Nanjing Military Region came to the school to recruit soldiers, and they took a fancy to me, but my homework was very good and I wanted to continue to go to school and did not join the army. As a result, I did not succeed in school, and by July Chairman Mao instructed that "it is very necessary for intellectual youth to go to the countryside and receive re-education from the poor and lower-middle peasants," and I signed up to go to Inner Mongolia. My aunt and uncle worked in the Ningxia Daily, and as a result, I went to Yinchuan in August and September 1968. I was going to work in a newspaper printing house, and when the conscription began, I signed up for the army behind their backs. At that time, I had performed at the daily newspaper, and they knew about me and quickly approved me to join the army, and I was an ordinary soldier and not a literary soldier, so I told my aunt. Therefore, I was equivalent to turning a corner from Tianjin to Ningxia before I became a soldier. I joined the army in Xi'an, the third regiment of the Shaanxi Independent Division, and after training in the recruit company, I was assigned to four companies, and just a week later I was transferred to the regiment and assigned to the propaganda unit of the political department as a reporter. Therefore, I am a soldier and have basically not been in the company. At that time, I didn't like to talk, and then I became a cross-talk actor, and I said that I was an introvert who did extroverted work. Isn't there a club in the group, once the club warehouse moved I used to help, the warehouse was piled with bamboo boards, I subconsciously picked it up and hit it a few times, just at this time our director came over from the window, "Xiao Li, will you do this?" Tune in the warrior performance team. ”
Q: This plot is the same as a small TV series.
Li Lishan: After concentrating on the troupe performance team for more than half a year, he returned to the troupe, and then concentrated on the performance team to participate in the performance of the division. At this time, another order came, and the soldier performance team of the Independent Division transferred me away. Later, we changed our defenses and were transferred from Xi'an to the Gansu Military Region. The military region engaged in literary and artistic performances, I wrote an allegro work called "Kai Dashan", and before the performance was completely over, I stayed in the soldier performance team of the Gansu Provincial Military Region, serving as a squad leader, platoon leader, and deputy leader of the performance team in the military region, and became the captain in 1976. In October 1979, I was transferred to the Lanzhou Military Region Combat Literature and Labor Corps, and by this time I had been enlisted for ten years.
Question: Did you enter the Combat Literary Corps to talk about crosstalk?
Li Lishan: The earliest transfer I was to engage in creation. At that time, I was already very famous for singing Allegro in the northwest, and a large number of works were published, such as "Tiger's Den Hoe Rape" and "Watching the Target", which were well written and acted well. When I went to the cultural troupe, I followed Zhu Jun's master Xu Xiulin, Xu Xiulin was the backbone cross-talk actor in the troupe, and we went to the 55th Division together to write a cross-talk "Slogan Fan". The 55th Division was in Zhangye, where we received the task of going to Jiuquan to participate in the condolence performance of the cultural troupe, and Xu Xiulin's partner had a sick family who could not go, so the regiment discussed with me to help two favors. Without a suitable work, I looked at Ma Sanye's "Xi Jiang Yue", which was exactly when we fought against the Vietnamese self-defense counterattack, so I changed it to this word and gave Xu Xiulin a hug. The first performance, the fire, the second one came down Xu Xiulin went to the head of the group and said, I want to change the praise. Since then, the two of us have been partners.
Xu Xiulin and Zhu Jun performed cross-talk
Q: Teacher Xu Xiulin is your first official cross-talk partner.
Li Lishan: The first one, the Eight Classics of Zheng'er, is the first, and the partner in front is still a primary school student. The two of us officially partnered from the end of 1979 until 1984.
Q: That was exactly when crosstalk began to flourish after the end of the Cultural Revolution.
Li Lishan: We have been working very well together, and the performance effect is also very good. In 1982, Ma Ji and Tang Jiezhong performed at the Lanzhou Military Region Gymnasium, and they only brought a few people, and the rest of the song and dance performances were performed by the Lanzhou Military Region with local actors. I don't know whether the locals proposed it or Ma Ji proposed it, and the performance was ready to set up a cross-talk, so Xu Xiulin and I performed a cross-talk, and at that time we didn't know Ma Ji. Before the performance, there was still gossip around us, people Ma Ji said crosstalk what do you say, can you compare with people Ma Ji? In fact, this is not an exaggeration, Ma Ji's wrist was too big at that time, and we really did not match the boundaries with others.
Q: What did you and Teacher Xu say?
Li Lishan: I said a paragraph of "My Great Cousin and Me." This is Zhao Weizhou's job, we have just rehearsed a few performances, and it turned out to be particularly hot when we performed that day. Ma Ji leaned on the basketball rack to follow suit, and he immediately came to us after we acted and said, Great, I really didn't expect Lanzhou to have cross-talk actors like you, so young to say so good.
"By 1988, no one opposed the Qiao Li Ming"
Question: You two are the backbone actors that are highly valued by the Lanzhou Military Region's Cultural and Labor Troupe, did you have anything to do with this cooperation with Teacher Ma Ji when you came to the Beijing Military Region?
Li Lishan: No. In March 1982, the Ministry of Culture of the General Political Department and the "People's Liberation Army Literature and Art" Society organized the first training course for the backbone of the whole army's music and art, located in Wuxi, Jiangsu Province. The trainers are Zhu Guangdou, Chang Guitian, Chang Baohua and Liu Xuezhi. Li Peisen is the opera and art editor of "People's Liberation Army Literature and Art", he is the director of this class, and once during the training, he asked me to save the scene to perform a cross-talk. I performed with Yang Luping and said "After I Die", and it happened that I was acting with Xu Xiulin at the time. Before the performance, there was also a review, and Chang Guitian and Chang Baohua were all sitting below. At the beginning of the review, I even had two baggage ringing, and Chang Baohua quickly asked the person next to me, where is this praise? By the actual performance, we suddenly acted out, we walked all the way to perform a lot of performances, and many people looked for me to give me a hug.
Q: It's not just for one person.
Li Lishan: I gave the cattle a hug, that's when the fight started, and we were both classmates. Several others have praised it, and my nickname was left at that time, "a large number of the whole army." This class has been held for three periods, the second in Qingdao in 1984, and the third in Xuzhou in 1986, where "Qiaoli Famous" came from. The earliest living author was not me, the earliest was written by Niu Herd and Li Peisen.
Young cattle herd
Q: They should have written "Threats" as well.
Li Lishan: Yes, so is Threat. It was because of the class that the two of them got together. At the earliest, when I watched "Qiaoli Mingmu", I felt that this work was not OK, and at that time, the paragraph said that the organs reported everything and textualism, and I said that this theme was not easy to pass.
Q: It's not about eating and drinking at all.
Li Lishan: Yes, I came up with the idea to turn to other topics later, and then turned to eating and drinking. "Roast duck" is only one of them, the second is "buy a wheelchair", the little nanny cleaned up the vegetable cellar and broke her leg to buy a wheelchair, and the result was that one person in the whole department bought one. The third time was "buying an urn", Lao Liu's wife died, and the result was a urn for the whole department. There are a few words in it - what urn do you buy when your wife dies? Let's mourn a little. What sorrow do you place on it? Even if you don't pin it on something bad. What can it hold? I'm holding tea anyway. Can you still drink that? Anyway, the old lady is tasteful. The last one was "planting trees", buying fishing rods for planting trees, toad shovels, and a lot of tourist stuff. How do you buy so many things? I didn't buy it all. Didn't buy anything? Didn't buy a shovel.
Q: That's going to take 20 minutes to go through.
Li Lishan: Much more. The most complete acting is Shi Shengjie, me and the cattle in Hebei station or which station, there is a video is also more complete. In 1987, I went to the Spring Festival Gala with the cattle.
Q: It didn't pass that year.
Li Lishan: If it didn't pass, no one could figure it out at that time. Through "Qiao Li Mingmu", it can also be seen that the political situation in our country changes very quickly, in 1987 everyone listened to this work and said good, but no one dared to make a decision, but by 1988, no one opposed it and said no, only one place was changed to change the director of the department to the chief of the section.
Li Lishan and Niu Qun spring evening together to say "Qiao Li Name"
Q: But only roast duck was left.
Li Lishan: Time can only be given eight minutes. At the earliest, it was less than eight minutes, and everyone thought that the work was good and could not be deleted before it was retained for eight minutes. At the same time, some people also suggested that it was not appropriate to mention the urn for the New Year, and we were not so big at that time.
Q: The performance time is also late, you should say it after 12 o'clock, right?
Li Lishan: After firing the cannon, the first one is the two of us. We don't have wrists, so we can't get ahead, we can only put aside this time.
Q: Can't get ahead because the wrists are big and the wrists are small, or is it too ironic?
Li Lishan: There are many reasons.
Q: And that year, in addition to talking about "QiaoLi Mingmu" with the teacher of the cattle herd, you also performed a small performance with the foreigner Carlo in the previous time. Those four short passages are also particularly interesting to hear now.
Li Lishan: Right. In addition to the two of us, there was Chang Baohua with Chang Yuan, a pair of twin actors, and Shan Lianli and Wang Quan. Spring evenings are difficult once, and I act on two shows a year. In fact, I was not acting, when I was rehearsing, I was in the Spring Festival Gala crew, director Wang Xiao had just graduated from college and was assigned to CCTV, And Karlo was responsible for the program, and he asked me to help give Carlo a match. Karlo was not very fluent in Chinese at the time, but he was very smart, and the two of us went out to perform very well. Close to the live Broadcast Spring Festival Gala crew has to change people, I am temporary, the original crew may want zhao Yan or Shi Fukuan to tell him, at this time Carlo is not dry, said that changing others is not used to, otherwise he will not act. Foreigners say not to act and we say not to act is not the same, he really does not act, in the end there is no way...
Q: For the sake of international peace...
Li Lishan: Yes, let the roast duck flutter and fly for peace. In this way, I went up twice at a party.
"The cooperation between the cattle and Feng Gong is still the bridge I built."
Q: So let's go back a little bit, did you get the opportunity through all-army training and then come to Beijing later?
Li Lishan: It's also inching. At the end of the first training course, a number of works were created, which were recorded by CCTV, and all the actors were gathered in the Beijing Military Region for rehearsals. I had a show with the herd called "Who They Look Like," and we both recorded that. The director of the Cultural Department of the Beijing Military Region is a native of Tianjin, he was originally a cross-talk writer, and when he was examining, he was very happy, and he could see that the techniques of my performance were all Tianjin techniques, so he deliberately transferred me to the Beijing Military Region. At that time, Niu Qun also wrote a paragraph of "The Wife's Praise and Criticism", which was a creative prototype, and I was in Beijing at the time, and the two of us partnered to talk about this work. This is the first crosstalk we are talking about.
Li Lishan and the cattle perform cross-talk
Q: This is not the same as "The Trainer".
Li Lishan: No, "The Trainer" was said by Niu Herd and Zhao Fuyu. After performing "The Wife's Praise and Criticism", Yang Baibing shook hands with the actor and affirmed that I said well, and the next day he approved the business transfer letter from the Beijing Military Region to the Lanzhou Military Region. The Lanzhou Comrades-in-Arms Cultural and Labor Corps did not want to release people, and after several twists and turns, I was finally transferred to the Beijing Military Region in early 1984.
Q: After you became popular with Niu Herd Teacher on the Spring Festival Gala in 1988, you almost refused all commercial performances.
Li Lishan: In 1986, Niu Herd and I won the first prize of the National Qu Art Festival organized by the Ministry of Culture, and at that time it was very popular in the country. In addition, Niu Herd and Feng Gong began to cooperate, and the origin was also in the Spring Festival Gala in 1988, to some extent, it was still a bridge I built. At that time, I was stationed in the Spring Festival Gala group, Feng Gong sometimes came to talk, we are all Tianjin fellows, he was also young at that time, I also patted people's faces and said to people, do a good job in the future you can succeed. He told me that Liu Wei was going abroad and that he wanted to partner with Niu Zhenhua. Niu Zhenhua is from the Air Force, and his personal relationship with me is also good, but I told Feng Gong realistically that Niu Zhenhua is good but has a weakness, he can't write, you should find one who can write, can write and act in the future, you two can succeed. I didn't say let him find the cattle, and later Feng Gong and the cattle often talked together, and I didn't go to my heart. Since the Spring Festival Gala, the cattle have begun to show the meaning of changing partners. It was when the cattle were on fire, and to be honest, it was a little swollen, and he didn't like to serve the tube. Moreover, the cattle herd has always had a good relationship with the radio rap group, and Jiang Kun has used some of his works in the past. The herd proposes to "work right", that is, not a fixed partner. I became the captain of the Quyi team in April 1988, which is not surprising to me, I have traveled so many places over the years, I can partner with anyone. In addition, the cattle were paired with Zhao Fuyu before working with me. In 1984, he and Zhao Fuyu performed "Xunfu" in Qingdao, the first prize of the work, but the performance effect was not very good, someone sent a telegram to Liu Xuezhi asking me to hurry up and change to the two of us to perform "The Wife's Praise and Depreciation". After returning from the Qingdao performance, the two of them were not happy, and in the spring of 1986, they began to organize and send me to cooperate with the cattle.
Q: In fact, you have only been working together for two or three years.
Lishan Lishan: Two years. Now it is said that Niu Herd is a cross-talk artist who is deeply loved by the audience, in fact, the cow herd cross-talk can't say it, he writes cross-talk better than cross-talk, and the reason why many of his cross-talk can be achieved is related to the hard work behind him. The character of the cattle is related to his surname, and the more he takes out a work and the people around him say that it is not OKAY, he must let it work. In the summer, he can not leave the house for a week, he can not cook, he will eat instant noodle steamed bread, bare shoulders wear a large pants, a week later out of the work to read, OK.
Q: There's that energy.
Li Lishan: He has this energy. There is a saying that if you don't hit the south wall, you won't turn back, and the cattle will not turn back when you hit the south wall, so the cattle will also be because of this character, and the defeat is also this character. The herd has a conceited side and a blind side, and the things they do do not match their age.
Q: Speaking of which, Niu Herd and Feng Gong have almost become synonymous with the Spring Festival Gala crosstalk in the 1990s.
Li Lishan: The audience of both of them is very fond of the performance, but from the perspective of crosstalk itself, the performance form of the two of them belongs to the "inverted three seven", is the heart of the cattle comfortable for a long time? In any case, "inverted three sevens" is an alternative in crosstalk, not a style.
Niu Herd and Feng Gong perform cross-talk
Q: The two of them have almost no baggage, and they are all in Feng Gong's place.
Li Lishan: Yeah. Now Feng Gong and my apprentice Jia Xuming often cooperate, and most of the baggage is also in Feng Gong's place, which can be understood, Jia Xuming, after all, they are still young. But at that time, Niu Herd and Feng Gong were not very old, and their careers were on a par with each other, and it was easy to have problems in the form of always "inverting three seven". Although I don't care about how much baggage I have, I can find it in some places, and I can't let people say that you are standing next to each other and listening to crosstalk. Li Jindou had a good personal relationship, and he said that my praise does not rob others and does not rob others, does not let people fall into the ditch at all, and cannot let the audience see that they are idle.
Q: This state is actually very difficult to take.
Li Lishan: We now have a lot of cross-talk actors, and there are many people who are really praised, but there are few people who really praise it.
"If you don't spare the teasing, you are good at it"
Q: You have worked with many actors, including Shi Shengjie, Li Jindou, Yang Zhenhua, Li Boxiang and Hao Aimin, and you have never had a fixed partner.
Li Lishan: Many people ask how to evaluate you, and I say that even I can't evaluate myself. After I broke up with the cattle in 1988 and retired in 2011, after so many years I had neither a partner nor a collaborator, and finally I became a general, and I was not very mobile with the leadership. I have to do other work, the administrative work is done well, and the business work has to be taken out.
Li Lishan
Q: Your style of praise is called "Little Zhao Peiru", which is a great affirmation. I heard you have a saying called "The one who holds the bar can't spare the teasing." What is the connotation of this sentence?
Li Lishan: When I was in college, I talked about what is a good praise, and what is not spared is a good praise. This is not to say that the praise is to grab the baggage with the tease, the hug is the hug, the seven or eight of the ten baggage are people's, only two or three are yours. "Unforgiving" means that you are the initiator of the problem, the pursuer, the person who asks the question in the performance, and if you are next to you as a vassal, a foil, an entourage, this is not right. Holding the boat not only has to push the boat along the water, but also mainly to push the waves, you do not "mix" the lively and lively ability to show the ability of the body. How to "mix"? First, you can't steal the scene, and second, the things you "mix" must be reasonable, not only from the perspective of the work, but also in line with the psychology of the audience, and the audience wants to ask you about this matter. If you look at the cooperation between Ma Sanli and Zhao Peiru, and then look at the cooperation between Ma Sanli and Wang Fengshan, it is absolutely different. Ma Sanli also wants to use Zhao Peiru like this, he always pesters you, so that you can show your ability. On the platform, they all say along the lines, always those few words, so what does it mean?
Q: It really became the "um, alas, this is" in "On The Tease".
Li Lishan: The key to "On Praise" is to criticize the praise not to do this, which shows that the old man found that there was such a thing in the praise.
Li Lishan and Hao Aimin performed cross-talk
Q: But Teacher Li, you found that no, some of the praises now are not only not amused, but they will all "rebel" in that way.
Li Lishan: That really won't make it, now it's not about holding the praise and not being amused, it's about holding the praise and running away. I told Li Ding that it is okay for you to perform a work like this, but you can't do it this way.
Q: Is this a trend towards increasing entertainment?
Li Lishan: When you talk to young people about this, they say that I want to innovate, but some actors have too thin a traditional foundation and do not understand this industry too well, either the two of them laugh on stage or say crosstalk.
In 2019, Li Lishan demonstrated allegro when performing crosstalk. Yang Ming photographed
Q: Now some actors have led the audience to think that this kind of cross-talk is normal.
Li Lishan: Don't blame the audience, blame the actors, how you lead the audience to where you go. You perform without fart where does the audience listen to fart?
"Crosstalk people should be honest people, but creative thinking cannot be honest"
Q: You are a cross-talk educator and a pioneer in cross-talk higher education. Listening to Mr. Yu Lianzhong, you and he taught together in the Chinese opera cross-talk college class run by Teacher Feng Gong. The junior college class has been held twice, right?
Li Lishan: The junior college class has been held for two sessions, and I have not lost one lesson.
Q: Why did it stop then? Does this make it impossible to walk this road?
Li Lishan: An apprentice told me that you have not had a wrist in your college class for so many years, I said this you should not say, this is your ignorance, the university is not a place to cultivate the wrist, the wrist is out of the stage practice, the university is the place to learn comprehensive knowledge. Xiangsheng junior college class sent away more than 70 graduates in two sessions, did Feng Gong teach a lesson? Speaking of which, this junior college class was run by Feng Gong, but in fact I ran it. There is no precedent, no experience, no teaching materials, and it belongs to the "three noes" unit. What we want to cultivate is a new cross-talk person, not a new cross-talk person, but a new generation of cross-talk with high comprehensive quality and corresponding cultural standards, and is committed to the cause of cross-talk. I don't know who wrote the entry in the "Cross-Talk Dictionary", but anyway, I am "one of the pioneers of higher education in Cross-talk in China", and I am very concerned about this sentence. Feng Gong was the initiator, and Yu Lianzhong and Wang Jinbao were the first participants. The Chinese Opera Adult Education Institute was later gone, and the junior college class was no longer held. However, later, I also taught at the Northern QuQu School in Tianjin, teaching three majors, cross-talk, allegro and qu art creation.
Li Lishan lectures on the creation of music and art
Q: You have many disciples all over the country, engaged in various forms of music and art, as well as various professions.
Li Lishan: First of all, I look at this person, I don't usually make gossip, don't take an apprentice to get into gossip. Second, I like talented people, and third, he has to really love crosstalk and devote himself to the cause of crosstalk. I don't have any hobbies, except for watching drama. My favorite thing to do is to coach people to create, and it's a pleasure for me. A lot of the works I've been involved in coaching and creating have won awards, but I don't ask them to sign me, I'd rather go where no one knows me. Chang Guitian is also a general, and he once wrote an article called "Say a General in Crosstalk", which I wrote called "Always Be a Good Soldier". Some people say that you are a hermit in the cross-talk world, I said that I am really willing to be a hermit, you don't understand you can ask me, but don't shout at me outside.
Q: When did you start developing this mindset?
Li Lishan: When I was young, you didn't see me everywhere for interviews when I was the hottest.
Li Lishan on the stage
Q: Another question, what do you think of the development of crosstalk today? Based on the current situation of crosstalk, are you optimistic about its future?
Li Lishan: Not optimistic. SARS left us with a word called "suspected", and now there are some crosstalk you can't say that it is not crosstalk, if not, what is it? It is very similar to cross-talk, it looks like cross-talk on the outside, but the inside is not cross-talk. I conclude that crosstalk is the art of dialogue that talks about jokes and is characterized by organizational baggage. I told Hou Yaowen before that I wanted to write an article in Quyi magazine, "Beware of the quiet degradation of crosstalk." How many techniques are there in crosstalk now, why do you say planing on stage? You will have an audience that will. When I was in class, I also told the students that Mr. Feng Gong has always been very popular with the audience, but in recent years, Feng Gong has not staged crosstalk at the Spring Festival Gala, and in the past 20 years, two or three generations have grown, and the crosstalk that these people have heard is like this, and they have listened to Ma Sanli in the past.
Q: How attractive are cross-talk classes to young people who want to pursue careers in the cross-talk industry? Now there are many private groups and small theaters, and they can directly participate in these groups.
Li Lishan: The higher education of cross-talk is not only to cultivate cross-talk actors, it is to cultivate talents related to each other, some are cross-talk actors, some come out to be cross-talk authors, some are TV station editors and hosts, and some will be bosses in the future to make money more than ordinary people, because education solves the problem of way of thinking. Everyone's thinking is forward thinking, crosstalk thinking is reverse thinking, it is backwards thinking and writing. People should be honest people, but they cannot be honest in thinking. Why are Tianjin people suitable for cross-talk? They are good at this kind of thinking, and when they talk to you, they have already thought of that sentence, and when they talk, they will go around there for you. The problems facing crosstalk now are that traditional techniques are not inherited enough, and second, knowledge is upside down, and people who say crosstalk do not know as much as those who listen to crosstalk.
Note: Unless otherwise noted, the pictures in this article are from the Internet
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