Liu Wenbu is now one of the more famous old gentlemen in Tianjin Tea House, born in 1936, 12 years old to worship Yang Shaokui as a teacher (according to Yang Shaokui's master is Jiao Shaohai, but according to Liu Wenbu, Mr. Yang Shaokui originally intended to worship Jiao Dehai, for some reason did not succeed, so he worshiped Jiao Shaohai's door, but jiao Shaohai is still a generation's name), Mr. Yang's disciple ranking is particularly interesting, according to the eight words of "Yuan Henry Zhen, learning and progress", referring to Ding Wenyuan, Liu Wenheng, Ren Wenli, Liu Wenzhen, Zhang Wenwen, Zhang Wenxi , Wang Wenjin, Liu Wenbu. These division brothers were all trained in the Shengyuan Tea House in Bird City, Hebei Province, and because they were still talking face-to-face at that time, their stage experience was generally relatively rich. Liu Wenbu's cousin is the famous teacher Guo Rongqi, although they are cousins, but in the cross-talk portal is a relationship between grandchildren and grandchildren, which is also a very interesting quyi anecdote.
Liu Wenbu
Liu Wenbu performed with Yin Xiaoxiao in the early days, and the two teased each other. When Tianjin recorded traditional cross-talk in the late 1990s, the duo also recorded some programs, such as "Dialect Commentary" (his "Dialect Commentary" is slightly different from Liu Wenheng's version, which is based on Zhang Zhenxi's original), "Miscellaneous Singing", "Xiangtang Noisy Stove Tiger Cabinet" and so on. Later, when the tea houses in Tianjin rose up, he and Yin Xiaoxiao belonged to two performance groups, and they did not often perform together. But sometimes on special occasions, two groups perform together, and the two of them can occasionally "break the mirror and reunite", for example, they once performed "Da Shang Shou" a few years ago, which now sounds more rare. After Liu Wenbu was transferred to the Haha Laugh Art Troupe, he mainly cooperated with Zheng Fushan (Zhang Qingsen's apprentice), although the fame of "Liu Badshui" was very large, but he always felt that he was not as tacit as he cooperated with Yin Xiaoxiao.
Liu Wenbu and Tian Lihe
Liu Wenbu's advantages are mainly three, one is that he is a qualified cross-talk artist. After all, he is an old artist who grew up in Bird City, Hebei Province, no matter the level of art, the skills that old cross-talk actors should master he still has, allegro, Taiping lyrics, door willow, double reed, praise, teasing and other skills can be picked up, the program will be relatively rich; the second is that his performance style is very "rushed", although he is old, but once on stage, he has always been a hundred times more energetic, not showing the appearance of the old dragon clock, which is also very difficult, many old artists after reaching old age, because the body is not as good as when he was young, after all, Therefore, I had to change my course, and the style became smooth and delicate, winning with experience and experience, but Liu Wenbu could still perform such a rush on stage at such an advanced age, which is really admirable. Third, his typhoon is very bold, although he is very sloppy on the stage, but because after all, he has been talking about crosstalk for sixty years, compared with those actors in the tea house who only rely on pretending to be crazy and selling stupidity and sensationalism, Liu Badshui still has his uniqueness.
Here to focus on Liu Wenbu's double reed, his double reed is with his righteous father, the old artist Zhang Baoru (stage name "dog pee moss"), Liu Wenbu recalled that when he learned "double reed" with Mr. Zhang, it was practiced in a room with large mirrors on all four sides, so his double reed is still very kung fu, especially good at "front face" of the "hair show", wake up the wood, two eyeballs are motionless, this is a kind of kung fu. In particular, the double reed he cooperated with his old partner Yin Xiaoxiao, the front face and the back face are very tacit (Yin Xiao's father Yin Shoushan and Yan Xiaoru's double reed are stunts, so Yin Xiao's double reed is also a family origin).
Liu Wenbu performs double reeds
As for Liu Wenbu's biggest drawback, it is sloppy. It is said that performing on stage is naturally an advantage, but everything has a degree, and exceeding this limit is a problem. Liu Wenbu is too casual on the stage, using Tianjin dialect anytime and anywhere, sometimes even completely in Tianjin dialect, such as the positive and living part of Zhao Jinsheng's teasing, Liu Wenbu's praise, and Xu Jian's greasy sewn "Wu Xiazi" that is often broadcast on the radio now, Liu Wenbu basically performs purely in Tianjin dialect. I remember that when Gao Yingpei died, there was a thing on TV, that is, when Mr. Gao and Zhao Peiru were apprentices, they were once punished by Mr. Zhao for turning over the baggage in Tianjin dialect on the stage, as a warning and teaching him not to use Tianjin dialect to turn over the baggage on the stage. According to Zhao Peiru, if he saw Liu Wenbu's tone on the stage, it is estimated that he could be crippled, haha (in particular, it should be pointed out that the so-called Mandarin in the cross-talk and commentaries is still very different from mandarin in the strict sense, for example, Liu Wenheng said that the bibliography of the commentators who perform literature should be in Mandarin, but Jiang Cunrui is famous for speaking "Three Kingdoms", but it is an authentic Tianjin-style Mandarin. And some details must be performed in dialects, which cannot be rigid). In addition, Mr. Liu often adds bits and pieces of words on the stage, although some of the baggage is ridiculous, but Bi destroys the integrity of crosstalk.
Liu Wenbu and Zheng Fushan
Let's talk about Liu Wenbu's Taiping lyrics. Liu Wenbu's master Yang Shaokui is famous for singing Taiping lyrics, the Taiping lyrics he passed down are one of the two major genres of this song (the other is Ji Ping San - Ji Wen Zhen Yi Vein, the current Tong Shou Ben is the way of the Ji School), among the disciples of the Yang family, Liu Wenzhen is specialized in Taiping lyrics, other teachers and brothers are not so practical, although Liu Wenbu's Taiping lyrics can reflect the characteristics of this song that pays attention to "sound" and emphasizes rhyme, but the rhythm change of his singing is too unnatural, the setbacks are too blunt, and the breath is too obvious The disadvantages are also very obvious (although Liu Wenbu's voice is not good, because his voice has been completely "horizontal", some liuhuo can really sing some rhymes).
Recommended Tracks:
"Talking and Learning to Sing": This is Liu Wenbu's most representative paragraph, I have seen this passage he and Zheng Fushan performed in the teahouse, Mr. Liu focused on this paragraph on "singing", the front "speaking", "learning", "teasing" are relatively stable preparations, and now Cao Yunjin and Liu Yuntian have also staged this paragraph, but they are very hot from front to back, and there is no ups and downs. Mr. Liu often performs "singing" such as Taiping lyrics "Single Knife Society", "Sandpiper And Mussel Competition", "Qin Qiong Guan Zhen" and so on. It is particularly worth pointing out that at the end of this paragraph, Liu Wenbu's performance is not easy as an old man in his seventies, which can also be seen in Mr. Liu's momentum.
"Shanxi Jiaxin": This is Zhang Shouchen's work in the 1940s, and it is rare to perform this passage recently, mr. Zhang Yongxi once took out the previous pad as a small joke when recording traditional cross-talk in Tianjin. Liu Wenbu and Zhang Yongyong can be said to be a relatively complete recording that can be found today, and this cross-talk is relatively smooth and very regular, and there are few sloppy phenomena, which is still rare in Liu Badshui's performance. Now Cao Yunjin and Liu Yuntian's "Shanxi Jiaxin" of the Deyun Society are performed according to Liu Wenbu's path.
"On Dreams": This is one of Liu Wenbu's more characteristic programs, which concentrates on his "bad water" characteristics, and the show he performed with Zheng Fushan is still very good, and the structure is very clear. Guo Degang also has this paragraph, he is rearranged according to online jokes, everyone can compare and listen to it.
"Miscellaneous Singing": According to Liu Wenbu's voice is completely horizontal, it is not suitable for singing, but he performs some willow live programs is still very interesting, this "Miscellaneous Singing" is one of the representatives, especially the last to learn Han Junqing's Hebei Zizi "Qin Xianglian" large section of singing, it is really very charming. He once performed this show with Wen Lin in Beijing, and the effect was very good.
"Da Shang Shou": This is the passage he gave Yin Xiao a laugh, and it is also a rare "broken mirror and reunion" work of the old partner. Liu Wenbu is much more humorous than him, and he is not noisy. But its momentum is still the same, if it is not the momentum of Yin Laughter pressing him, replacing a younger actor, maybe he can really let Liu Wenbu "eat".
"Double Reed": Liu Wenbu's double reed is practiced after some hard work, especially his partner with Yin Xiaoxiao, which is a tacit understanding, among which there are nearly lost folk minor tunes such as learning to sing "Fa Si Xi", "Making Five More" and "Lotus Falling", which are rare. Especially in the final performance of "Wang Erjie Sifu" "up and down the stairs" a little, Liu Wenbu, whether it is the broken steps under his feet or the twisted body, he is acting standard enough.
Note: Liu Wenbu's performance is very "rushing", in line with the feeling of "Thunderbolt Fire", which is just right for him (to be continued).