Press: For various reasons, the series of interviews with cross-talk actors that I participated in before are not published on paper, and the relevant interviews will be sent out here one after another, roughly maintaining the rhythm of two people a week. Most of the cross-talk actors I interviewed don't have an absolute "flow" these days, but their voices and thoughts are equally or even more worth listening to.
"Hometown of Crosstalk" is a general name. The name is due to the fact that some time ago I saw a documentary "The Hometown of Literature" that showed Jia Pingwa, Chi Zijian and other writers. Like these writers, the actors I interviewed started from their hometown and when they were young, and the actors of the early years and their works were the spiritual hometown of these actors. For me, the hometown of crosstalk is far away in the 1980s, and many of the actors interviewed shine brightly in the 1980s. Many of the young and middle-aged actors interviewed have the same ideas as those of the 1980s.
Yesterday, the interview with Teacher Li Zengrui was sent here as a blessing for his 60 years of cooperation with Teacher Wang Qianxiang. With the title of "Hometown of Crosstalk", the first of it is officially released here today - an interview with Mr. Chen Yongquan.
Mr. Chen Yongquan is currently one of the few Baozi cross-talk actors, who is 88 years old this year. Interviewing such old gentlemen, while feeling that the opportunity is rare, there are always some concerns, lest they are lacking in expression and some things cannot be asked.
On the day of the interview in February 2019, knocking on the door of Mr. Chen's house, he could hear the sound of the TV in the house, but after knocking for half a day, no one answered, so he had to call the home phone, and Mr. Chen slowly walked over on crutches to open the door. It turned out that his ear power was not good, he could only amplify the volume when watching TV, and the knocking on the door could not be heard clearly.
Mr. Chen not only prepared tea for us, but also arranged the books produced by the cross-talk improvement group on the coffee table, and asked us to see the award certificates of works such as "Wusong Fighting Tiger" before the interview was over.
During the interview, Mr. Chen's thinking is still very clear, in addition to the vague memory of the starting time of cooperation with Teacher Li Jindou, many other things are remembered more clearly, in addition to answering the questions I prepared, he also took the initiative to mention the re-creation of "Ellipse" and the lectures of Peking University. Especially when it comes to the concept of the cross-talk family and the relationship between the Beijing Qu Art Troupe and the radio rap group in Zhongnanhai, the old man also raised his voice and showed some excitement.
Seeing that Mr. Chen was so well prepared in all aspects of the interview, when it came to the group photo, I couldn't help but sigh, "I see that you are an old artist, I know that we have prepared all the materials in advance, and I have specially worn a red sweater." "Old mr. Haha Yile," I love to wear red sweaters. ”
By the way, this round of interviews also contacted Mr. Chen's old partner, Mr. Li Jindou, although I repeatedly fought for it, but in the end he politely declined the interview. In addition, when I heard that I had interviewed Mr. Chen Yongquan, he said that what Mr. Chen said also meant what I said.
Interview with Chen Yongquan
Chen Yongquan: Born in 1932, from Beijing. Born in a cross-talk family, he studied under Tan Boru. After the founding of the People's Republic of China, he served as a clerk for the Beijing Xiangsheng Improvement Group, and later participated in the creation of "Morning Glory". In 1986, he partnered with Li Jindou and performed the classic cross-talk "Wusong Fighting Tiger". He and Li Jindou cooperate tacitly, and they are a model of cooperation in the cross-talk industry. Representative works include, "WuSong Fighting Tiger", "Mouse Secret Language", "Catching and Releasing Cao", "Shandong Erhuang", "Omitted Language" and so on. There were apprentices Liu Chen and Wang Futing.
Interview date: February 26, 2019
Mr. Chen Yongquan was interviewed. Yang Ming photographed
<h1 class= "pgc-h-arrow-right" > "We also gave Chairman Mao a cross-talk."</h1>
Q: I see that the word "Xiangsheng Shijia" on your wall was written by Mr. Liu Bingsen. When did he write this?
Chen Yongquan: This has been some years, and Liu Bingsen is no longer there.
Q: You come from a cross-talk family, your grandfather and father are both famous cross-talk families, and your generation is also very high, and you are an old gentleman of the Baozi generation.
Chen Yongquan: Now I am the highest generation.
Q: When you were a child, who did you learn crosstalk with? With the father, and other elders?
Chen Yongquan: I have listened to it since I was a child, and I had some impressions of crosstalk at that time. After I joined the cross-talk improvement group and visited Tan Boru, I learned some things again. I was a disciple and went to Master's house every morning. At that time, when the Korean War began, I would mainly write two paragraphs, "The Present Form of the US Imperialist Invasion of Korea" and "So American". There are some passages that I want to learn, but I don't have a book, so I will listen to them, because I have a super memory. My brother-in-law Zhao Shizhong and I were both disciples, and at that time we both played words together, and my master listened, and when we were late and frustrated, we pointed it out to us, and when we stood up and said after we were familiar with it, Master looked at it and thought that we could play and play us before we played.
Q: Were you teasing or hilarious at that time?
Chen Yongquan: Funny. I was always amused at that time.
Q: That means that these two works are new cross-talk, not traditional ones.
Chen Yongquan: Right.
Q: Then you are Mr. Tam...
Chen Yongquan: In 1951, I was 19 years old.
Q: Since you started systematically studying crosstalk in 1951, I see that you were also working as a clerk in the crosstalk improvement group at that time.
Chen Yongquan: Yes. Because I was a middle school student.
Q: At that time, it was considered a high degree.
Chen Yongquan: Yes, I am the most educated.
Chen Yongquan in high school
Q: Mr. Hou Baolin, they haven't studied much.
Chen Yongquan: No.
Q: For the development of crosstalk, the establishment of the crosstalk improvement group is a very important thing. Do you remember what the group members did at the time?
Chen Yongquan: One is to improve, in the past, some low-level, vulgar, and cheap content have been removed, and the passages that can be changed continue to say, and those that cannot be changed are abandoned. The crosstalk group has published a lot of books.
Q: Including your "Memoirs of the Present Form of the US Imperialist Invasion of Korea" and Mr. Hou's "Consistent Tao" as well.
Q: What were you responsible for at the time?
Chen Yongquan: I record their meetings, and I reply to the correspondence and write them according to their wishes.
Q: Do you still have an impression of their work status? Such as Mr. Hou them?
Chen Yongquan: He doesn't come very often, mainly Sun Yukui staring.
Q: Since the 1950s and 1960s, you've also started writing crosstalk, like Morning Glory.
Chen Yongquan: Yes, Morning Glory.
Q: It reflects major military themes, which was relatively rare in the cross-talk industry at that time.
Chen Yongquan: This is the first work in the country to reflect Chairman Mao's military strategic thinking in the form of cross-talk.
Q: It actually writes about Liu Deng's army.
Chen Yongquan: Yes, Liu Deng's army leapt thousands of miles into the Dabie Mountains.
Q: How did this task come to you at that time, or did you think of it yourself?
Chen Yongquan: This is assigned by the leadership.
Q: Is it to improve group assignments?
Chen Yongquan: No. It was 1961 and it was already state-run.
Q: There is a hospital group.
Chen Yongquan: Yes, Beijing Qu Art Troupe. I wrote it, three people wrote it, and Wang Changyou and Liu Sichang. After we wrote it, it was first published in Quyi magazine, and then other magazines also came out, and there were eight editions in total.
Q: Who played it?
Chen Yongquan: It was me and Shi Wenhui who played it.
Q: You're teasing too.
Chen Yongquan: He teases, I hold. Later, the leadership decided to change the role of "Er Zhao" (Zhao Zhenduo and Zhao Shizhong). Wasn't Deng Xiaoping overthrown many times? After his comeback, our troupe continued to perform this work. Once, a cross-talk conference was organized at the Music Hall, in which "Erzhao" performed "Morning Glory", and it was said that according to Chairman Mao's strategic thinking, Liu Deng's army leapt thousands of miles into Dabie Mountain and launched a major counteroffensive.
Q: At that time, Deng Xiaoping came back, so everyone had this reaction.
Chen Yongquan: He has prestige among the masses. "Erzhao" also went to Zhongnanhai to perform "Morning Glory" to Chairman Mao.
Question: Chairman Mao loves to listen to crosstalk, and Mr. Hou Baolin and Ma Ji have also performed.
Chen Yongquan: I have also been there.
Q: What are you acting for?
Chen Yongquan: I play makeup crosstalk.
Q: When was that?
Chen Yongquan: In September 1962, I played "Two Barbers", and I played by Shi Wenhui.
Makeup cross-talk "Two Barbers", left is Chen Yongquan
Q: Do you remember Chairman Mao's reaction?
Chen Yongquan: Not only Chairman Mao went that day, but Chairman Liu Shaoqi also went, his wife Wang Guangmei also went, Commander-in-Chief Zhu De also went, and his wife Kang Keqing also went. It's in Chairman Mao's little auditorium.
Q: What was that occasion? Is the September performance to celebrate the National Day?
Chen Yongquan: It doesn't matter to that, it was a dance party, and we performed cross-talk during the break of the dance. Chairman Mao also applauded after we played.
Q: Is it strict when entering the door? Remember that?
Chen Yongquan: Remember. From the West Gate, the car of the Ministry of Public Security picked us up, and our Beijing Quyi Troupe went to two shows, one for us, and one for Luo Rongshou.
Q: Like Mr. Hou they...
Chen Yongquan: Not next to each other, they are them. In the past, they always publicized them, but they did not publicize the qu art troupe, and they suppressed the qu art troupe. It's like because they're central and The North Curve is local.
<h1 class="pgc-h-arrow-right" > "Wusong Fights Tiger" has been changed eight times in total."</h1>
Q: More people know you, or after you cooperated with Teacher Li Jindou. I see that you have written a piece of work called "So Sentimental", and the 30th anniversary of the founding of the People's Republic of China has won awards, what is the main content of this paragraph?
Chen Yongquan: I am talking about two people chasing buses to sell tickets, and there are some foreign appearances.
Q: It's a satirical work.
Chen Yongquan: Ironically, he won the first prize in the country. I wrote it with Liu Sichang.
Q: So who played this?
Chen Yongquan: Li Jindou, Liang Houmin, Zhang Yunhua (Li Jindou's wife), me.
Makeup cross-talk "So Sentimental", from the right is Chen Yongquan, Liang Houmin, Zhang Yunhua, Li Jindou
Q: So this is also a makeup crosstalk?
Chen Yongquan: Makeup crosstalk.
Q: Didn't Mr. Liang Houmin say Allegro?
Chen Yongquan: Yes, he also plays.
Q: There was a time when makeup crosstalk was very popular.
Chen Yongquan: It's very popular.
Makeup cross-talk "So In Love", left is Chen Yongquan
Q: It's a bit like later sketches, like Chen Peisi's early ones.
Chen Yongquan: Now the sketches are no longer sketches. In the early years, the sketch was an actor who went to the exam to make a question for you to improvise, and now it is equivalent to a one-act comedy. Sometimes there are a lot of dancers, which is not close to the sketch.
Q: Teacher Jin Dou, how did you first come together and start working together?
Chen Yongquan: I got sick in 1990. During the Cultural Revolution, I also suffered some gas, heart disease, heart failure, and in 1990 I was hospitalized for 40 days and rested for a year and a half. Jin Dou didn't know when I was going to be well, so later he looked for Li Jianhua, or I helped find it, and then I withdrew. After a year and a half of rest, I am fine, he already has Li Jianhua to work with, I can no longer talk to him, but I will stand up to talk to each other. Jindou organized a weekend cross-talk club, so I went there and said stand-up comedy. I think that among the young actors in the improvement group, I would stand up to talk to each other. "King's Fight" I will do it all.
Q: That's so rare. Did you say "King's Fight" at the club?
Chen Yongquan: I said that.
Q: How long does that have to be said?
Chen Yongquan: I will say four paragraphs. Now there are many young actors, the audience can't wait, they need to listen to the actors out of the fast baggage, "Junchen Dou" in the middle of the baggage is less, so I only say "pair", "play the riddle", "rose jujube", "see Qu Yuan". Other stand-ups will also be "Three Dangers in the Day", "Lifting the Bar Shop", "Pulling The House Fiber", "Thief Talking", and "No Ghost Theory".
Q: If you don't consider the audience's tastes, if "Junchen Dou" is all said, how long will it take to talk about it?
Chen Yongquan: I didn't say it all, but I would.
Q: Most of the versions we usually hear are mr. Liu Baorui's recorded version.
Chen Yongquan: It seems that the TV station will talk about Liu Baorui now, which is not right. When I said "Three Dangers in the Day", they also said Liu Baorui in front of the introduction, I have nothing to do with Liu Baorui, I learned from Zhao Xiaru.
Q: Elder Chen, you haven't said how you first partnered with Teacher Jin Dou.
Chen Yongquan: (After the end of the Cultural Revolution), after I recovered from my illness, three people came to me because they knew that I would do more. Yin Peitian looked for me, Shi Wenhui knew that I was sick, he took Li Guosheng, and later Li Guosheng said it with Xiao Lin, so Shi Wenhui later looked for me again. JinDou went to my place three times and asked me to cooperate with him, and finally I considered going with Jindou. Because Jin Dou is a very moral person, and he will be able to do it, he originally said to Wang Wenyou, Wang Wenyou's voice is not good, as long as it is singing legs can not be performed, I myself can sing Peking Opera, and I will also play huqiner.
In 1981, Chen Yongquan and Li Jindou participated in the "May Fourth" performance in the music and art circles
Q: You and Mr. Jin Dou have talked about many classic works, the most famous of which is "Wusong Fighting Tiger" in 1986, which is also the beginning of your cross-talk career.
Chen Yongquan: Peak.
Cross-talk "Wusong Fighting Tiger"
Q: In terms of creation, you also went to the door to ask Mr. Li Wanchun, a famous Peking opera artist, and you also know Peking Opera.
Chen Yongquan: So when I sang those four sentences, it was full of color. I will have more than 30 paragraphs of Peking Opera's old students.
Question: You two went to Mr. Li Wanchun's house together, whose idea was this?
Chen Yongquan: Jin Dou's idea. When we entered the door, we said that we had a program "Wusong Fighting Tigers", and we knew that you acted well in this play. We read the lines, Li Wanchun said, you are written in accordance with the "Drama Examination", it is a big road work, we are acting differently from this, I will show you a video for you to see. As soon as we saw the video, we felt different, and we began to change the book, a total of eight times.
Q: That said, it's just right to ask for advice in person.
Chen Yongquan: By the way, according to the original acting, it can't be done. The old gentlemen of opera still have their own uniqueness.
Q: You are mainly singing in this work.
Chen Yongquan: Yes, I am right about this.
Q: The main burden is in Teacher Jin Dou's place.
Chen Yongquan: He "rushed to four", and I wusong was alone to the end.
Q: Teacher Jin Dou is crooked, you are singing, so it is easy to produce results. If it is crooked from beginning to end, the effect will not come out.
Chen Yongquan: But he still has to turn over all those baggage. Without a second person acting, he couldn't learn.
Award certificate of "Wusong Fighting Tiger"
Q: After "Wu Song Fights the Tiger", you have talked about many works together.
Chen Yongquan: The two of us have worked together for nearly 30 years and have performed more than 100 cross-talks.
Q: I have also been on the Spring Festival Gala several times, performing "Pet Fever" and "Spring Festival". We are also deeply impressed by "Mouse Whispers", which is also one of your most representative works after "Wusong Fighting Tiger". This work is of great practical significance, and at that time, it was very resonant with the audience, for example, the cultural shirts worn by young people were printed on the back, "Ignore me" and "Bother".
Chen Yongquan: That's a big baggage.
Q: This crosstalk is very close to reality, how do you see the distance between crosstalk and reality?
Chen Yongquan: There are cross-talk that are close to reality, and there are those that are not close to reality, but if they are not close to reality, if they are too far away from the times and the distance between life is too large, they will not work. For example, now you say "Official Dress Hexi" again. Gao Deming said that this passage is well said.
Q: Now some people perform traditional work that is far away from reality, and they only speak for ten minutes, and the pad talk in front of them is particularly long. Speaking of "Mouse Whispers", this is a piece of zimu works, when performing zimu works, how to better cooperate with praise and teasing?
Chen Yongquan: When I was praising it, I used the language of the clown in Peking Opera. Inside, he called me "widowed sister", I called him "bare stick brother", I wanted to completely use a thick voice to match the character, I used the language of the small flower face to cooperate with the golden bucket.
Crosstalk "Mouse Whisper"
Q: Then your Peking Opera skills have been used again.
Chen Yongquan: We won the sixth Golden Disc Award.
Q: You also said that you have been working with Mr. Jin Dou for nearly 30 years, how do you evaluate the performance of this old partner?
Chen Yongquan: One of his performances is to keep up with the times, one is that he is willing to work hard, and the other is that he performs seriously and responsibly, and his work is really learned. He acted in old jobs such as "Eight Fan Screens" better than his master (Zhao Zhenduo), and his actions were better than his master.
Q: It is reasonable to say that "Eight Fan Screens" is also Mr. Zhao Zhenduo's specialty.
Q: After you fell ill in 1990, why did you recommend Teacher Li Jianhua to him?
Chen Yongquan: Li Jianhua also won the first prize in the TV Grand Prix.
Q: The Legend of Bao Gong.
Chen Yongquan: Yes, the two people are also suitable for their age, standing together is like a "deal". Now some partners stand together like a deal.
Li Jindou, Li Jianhua
Q: Working with you and with Teacher Li Jianhua, what changes do you think Mr. Jin Dou has changed in his performance style?
Chen Yongquan: Li Jianhua's traditional life is not good, I told Jin Dou that Li Jianhua gave you a hug, which is equivalent to picking up half of your arms. I will live much more traditionally, and I can pick up everything I say and sing.
Q: Then after the two of them cooperate, the traditional program will be less to say.
Chen Yongquan: That's too little to say.
Q: So then they said new works like The New Night's Journey and The Red Lantern.
Q: Teacher Jianhua also has his characteristics, his face is relatively thick, and it looks very interesting to show that kind of clumsiness.
<h1 class="pgc-h-arrow-right" > "I am very happy that the back wave of the Yangtze River pushes the front wave"</h1>
Q: Let's talk about your stand-up again, did you specifically say stand-up before the club said stand-up?
Chen Yongquan: Said. Why? It turned out that I had a praise, called Guo Wenqi, who was Wang Changyou's apprentice, and the performance effect of the two of us was very good, and Wang Changyou said that you two can stare at the midfield this time. Later, Wang Changyou and Gao Deming took him out of the three regiments of the Quyi Troupe to the northeast, and then Wang Changyou and Gao Deming proposed to come back, and the regiment agreed, but Guo Wenqi could not do it, so I did not praise it. During that time, whoever had the work to give me a hug, I did not have a fixed partner. At this time, Tang Jincheng, that is, "Tang Blind Man" said to me, Grandpa, you can't do this, I give you an idea, your young voice is good, you practice stand-up, they perform your opening, I will teach you all of "Junchen Dou". In the old society, my father had a relationship with Tonkin City.
Q: How many years did you later say stand-up at the Weekend CrossTalk Club?
Chen Yongquan: There are three or four years.
Chen Yongquan performs stand-up comedy
Q: Over the years, the audience has listened to less stand-up, like Fang Qingping also said stand-up, but that is more like a talk show, not as strong as the traditional works you said.
Chen Yongquan: He was talking about several files. I'm talking about this, which young people rarely do.
Q: There are few stand-up comedians now, and even actors like Teacher Fang Qingping are very rare. Now some stand-up comedy performances are more like talk shows, what do you think?
Chen Yongquan: It's actually a talk show.
Q: Last year, a stand-up comedian Zhou Peiyan came out of "Crosstalk with Newcomers", and some people commented that his stand-up was like a talk show.
Chen Yongquan: You can't use talk shows as crosstalk. But as long as the audience approves, then let him say go, anyway, I will never say talk show.
Q: In the early years, we could still hear some of Mr. Yin Wenshuo's stand-up works.
Chen Yongquan: Yin Wenshuo has published a book called "Official Fighting". At that time, he came to me, he called me uncle, he said I came to beg you, my master (Liu Baorui) will not be complete, I heard that you will be complete, can you make up for what I lack? I said ok, I recall, all for you to make up, the next time you bring a tape recorder, I will record you and you take it back. Then I made it all up for him.
Q: When you learned these stand-ups, did you memorize them all in your head, or did you have to write them down?
Chen Yongquan: I have to write it down. Who did I learn "Lifting the Bar Shop" from? Shi Shengjie's father.
Q: Shi Shiyuan.
Chen Yongquan: Right. We went to the northeast to perform, they didn't have enough actors, we helped them make up the stage. What Shi Shiyuan said was "Raising the Bar Shop", as soon as I listened to it cleanly and neatly, I listened to it twice.
Q: At that time, they had a cross-talk conference in Shenyang.
Chen Yongquan: Cross-talk Tea House.
Q: It is said that Shi Shengjie took the stage there when he was a few years old.
Chen Yongquan: He was only a little tall when I went. His dad and mom both played.
Shi Shengjie talked to the audience
Q: He's also a family member.
Chen Yongquan: This, no, only father and son say crosstalk, this can not be called shijia.
Q: Three generations.
Chen Yongquan: It is necessary to have three generations to be called a family, and two generations can only be called from the door.
Q: Now many people who manage the two generations are also called shijia.
Chen Yongquan: Too few people understand now. I said "Pulling Room Fiber", that was taught to me by Gao Deliang. Backstage he was smoking and drinking tea while talking to me, dipping in spit and drawing pictures to tell me this, there was neither audio or video recording at that time, he said that this time I remembered. There's also another tidal issue. Zhang Xilin had an apprentice named Zhao Xiaolin, who wrote a passage called "Ellipse" and handed it over to us. I took it back to see, the subject matter is very novel, but the content is a bit chaotic, not complete enough, the most important thing is that there is no bottom, I changed it from beginning to end, the baggage is more appropriate, and finally the bottom is added. Zhao Xiaolin looked at it and said that the change was too good. Then Jin Dou and our grandfather and son made this work, at that time the actors did not learn much from each other, but after we performed "Omitted Language", thirteen pairs of actors all learned us this.
Q: Because this work works very well and is suitable for small segments.
Chen Yongquan: The effect is very good, not big or small.
Q: The last bottom is the three books (uncle) waiting for the Triptych Bookstore.
Chen Yongquan: Yes, this is what I added.
Q: This is the actor's second creation.
Chen Yongquan: Right. Later we went to Hong Kong to perform, Hong Kong TV station to record, put forward a request, Hong Kong speak Cantonese, speak Mandarin inside, they need subtitles, the book requirements are traditional characters, I said yes, I will write you all traditional characters. I went to elementary school during the Japanese invasion of China, and I went to middle school during the Kuomintang period, and all I learned was traditional Chinese, so I could write it, and jiang Kun next to me couldn't write it.
Q: You have witnessed the development of cross-talk in so many eras, how much do you pay attention to cross-talk now? What do you think?
Chen Yongquan: I recall that 20 years ago, Yue opera, Huangmei opera, and Yu opera were put on TV, and a group of new actors were released, and the climax of cross-talk after the fall of the "Gang of Four" passed at that time. But now I am happy, and now there are many actors after the 80s and 90s. That day Liu Hongyi accepted the apprentice I spoke, I said, the old saying that the Yangtze River after the wave pushed the front wave, a generation of new people for the old, now a large number of new people, this is a very good phenomenon, I am 87 this year, I belong to the old people, I am very happy to participate in the activity. But there are also shortcomings, Beijing TELEVISION broadcast "Laughing Theater" in the afternoon, some passages such as "Eight Auspicious", a total of "heaven, peach, forest, sea, lamp, lian, incense, eight" eight words, but the two actors only use four words in front, followed by "find five sons", not so done, this is Hu Lai. There is also the "Five Elements Poem", "gold, wood, water, fire and earth" five words to remove the word "fire", there is nothing here, what do you do when you remove it?
Q: It may be that the actor did not act, or it may be that the TV station pinched it. What do you think of the development of the Xiangsheng Small Theater?
Chen Yongquan: There are now more than a dozen small theaters in Beijing, and they are still relatively prosperous.
Q: Today's party crosstalk is not as prosperous as it was when you participated in the 1980s and 1990s, and the small theater gives the audience a chance to get up close and personal with crosstalk. The current Spring Festival Gala crosstalk has also gone downhill, and sometimes there is even no crosstalk.
Chen Yongquan: The current Spring Festival Gala should not be called the Spring Festival Gala, it should be called the Song and Dance Gala, and I am not interested in the current Spring Festival Gala.
Q: You look at the Spring Festival Gala cross-talk of that year, Teacher Jiang Kun, they are a bit, you guys are a bit, the cattle herd Feng Gong is a bit...
Chen Yongquan: Hou Yaowen.
Q: Yes, he and Shi Fukuan, as well as Xiao Lin, Li Guosheng, and Ma Ji. At that time, there were five or six cross-talks at a Spring Festival Gala.
Chen Yongquan: There are at least three or four.
Q: A few years ago, there was a Spring Festival Gala that didn't even have a crosstalk in one or two years, one this year, and one or two last year.
Chen Yongquan: And it's not good.
Q: Are you still optimistic about the future development of crosstalk?
Chen Yongquan: I am still relatively optimistic, who knows what will happen to the next development?
Q: Compared to your time, do you think there has changed?
Chen Yongquan: Now there are many new cross-talks, and the content is relatively rich, which I am more happy about, but some new programs are not mature enough.
Q: I've heard that some actors don't look at words carefully before they go on stage, so sometimes the audience will find that they don't have the right words to perform on stage.
Chen Yongquan: We couldn't do it at that time, we had to get the porcelain solid, and the teacher thought that it could be done. Of course, sometimes there may be a hanging, but you have to grasp the hanging well, you can't add it blindly.
Q: And now listening to crosstalk is not the same as in the past, the party said that the cross-talk stage is far from the audience, and the interaction between the audience and the actors in the small theater is obviously enhanced.
Chen Yongquan: This is not normal. There are also those who hold "little slaps" and make a noise, which will stir you up.
Q: Now the actors are also dressed in fancy clothes, wearing earrings and dying their hair.
Chen Yongquan: Clothes can't be worn indiscriminately, and some people wear a big red one to come out, which is not possible. In addition, I will say one more thing, in 1983, Professor Wang Jingshou of Peking University called me and said that Mr. Hou Baolin resigned and was no longer teaching at Peking University. I discussed with Jin Dou that the students mainly listened to what we did, and they wanted to combine theory and practice. I wrote the lecture, interspersed with the performance of the work, I talked about the theory, and then the two of them performed together, and as a result, the class was on fire. Later, Beijing Normal University invited us to give a lecture, the People's Liberation Army Art Theater invited us, the Central Party School invited us, and the Party School of the Beijing Municipal Party Committee invited us to speak. We went to Singapore to perform, gave three local lectures, and added more actors to perform.
Q: The combination of theory and performance is very good, it is said that Mr. Hou did not notice this when he first went to the Department of Chinese of Peking University to give a lecture, and when he came up to talk about a large set of theories, the students were not interested, and later he intended to join the performance content, and the students were excited.
Chen Yongquan: Well, I used my brain from the beginning.
Note: Unless otherwise noted, the pictures in the article are from the Internet