"New Wen Wei" crosstalk seems to have become an embarrassing joke in the past decade or so. The famous cross-talk artist who was once praised by the media as a "representative of the new wenshu" has never been recognized by the audience. It is undeniable that the cross-talk works he performs do belong to Wen Wei, and the quality of his paragraph creation and the design of the baggage are also quite brilliant, but only the stage performance can not see the traces of Wen Wei at all. The thick preaching tone invisibly dilutes the expected effect of the baggage. As a result, the new Wen Wei Xiangsheng was shelved, and the result was that the audience only saw the touted representatives of the new Wen Wei, but could not see the excellent New Wen Wei works.
Some people think that to say that the text is a paragraph, first of all, the actor must have a literati temperament. Among the young cross-talk actors, it is natural to have the elegant temperament of Mr. Su Wenmao, so can't wen be alive without a book? In fact, it is not always the case, many young actors have great plasticity. When performing different styles of works, it is often possible to present a completely different stage image. For example, Dong Jianchun and Li Ding, who once had mixed reviews in public opinion.
Maybe the old audience who is accustomed to listening to the rules and regulations makes the living people feel a headache when their names are mentioned. It's not that their crosstalk is not happy, it's just that the state of high excitement on the stage is difficult to accept. Audiences who like these two regard them as another pair of golden partners after Niu Herd and Feng Gong. And those who reject this style of performance regard them as "foreign troubles", "sprinkling dog blood", "playing monkeys"... In fact, every cross-talk actor has his own artistic style, which is their self-positioning of the stage image. For example, how many "knowledgeable" audiences commented on Xiaolin at that time, four homework accounted for half of the door, except for singing, they could not say crosstalk at all. But no one thought about why the actors of the national good ambassador Ge Liu could be deeply imprinted in the audience's memory by Xiao Lin's performance?
Back to Dong Jianchun and Li Ding, there are indeed many "suspected troubles" in the creation and compilation cross-talk they have performed in the past, and Li Ding has endlessly amplified the role of "top planing and hitting the cover". It is also because of the exaggerated expression and body movements that have been put on the hat of grabbing baggage. But in fact, they have already decided to leave the baggage to the one who is holding it. For the performance effect, Li Ding can only helplessly carry the pot of baggage. Dong and Li, who are famous for their "noisy", can actually perform literary work, and their new literary cross-talk is more likely to be accepted and liked by the audience.
Last year, the two of them's "I Love to Remember Poetry" completely refreshed the three views. First, let the audience appreciate that the new text can also be interpreted in such a relaxed and lively way. Second, it also allowed everyone to see the level at which Li Ding calmed down and made Li Ding quiet. This cross-talk is only about 15 minutes, but the structure of the work is complete and rigorous. In the pad part, the two of them find baggage from the Song Ci "Tengwang Ge Order" and "Water Tune Song Head" through a question and an answer. It is worth mentioning that they boldly abandoned the low-level method of piecing together baggage by badly changing the original work. One sentence after another strictly follows the original word, and finally the comically sang out "I don't know what year the heavenly palace is, what year is this night" to find the bottom, and turned out the baggage of "Faye Wong". Compared with the vulgar distortion of some actors' "bright moonlight in front of the bed, two pairs of shoes on the ground", which baggage is more advanced is self-evident.
The positive living part closely revolves around the Tang poem "Wanglushan Waterfall", and the two have distinct character modeling. A good teacher, a chest without ink. Baggage design you have me, teasing each other. For example, the first sentence "Sunshine incense burner produces purple smoke". In order to guide B to say the first two words of the poem" "Rizhao", A gave a hint "a place name in Shandong", and B began to count the names of large and small cities in Shandong endlessly, but avoided Rizhao, at this time the burden had already come out. Counting all the way to Lianyungang in Jiangsu, I teased and turned over this baggage again, "I found that your ancient literature is not very good, and your geography is really good." When A gave a hint again, "Is there only one place name left in Shandong?" The audience thought that this time the praise should always think of Rizhao, and as a result, Li Ding excitedly jumped out of the two words "Zaozhuang", which is also reasonable and unexpected.
This passage of "I Love to Remember Poetry" is tightly packed from beginning to end, and there is neither a crooked criticism of classical poetry, nor a blunt and vulgar baggage. Abandoning the didactic flavor, but also entertaining and educational, both the content of the paragraph and the actor's performance are in line with the characteristics of the new text. Compared with the so-called new text of the past "professor lecture style", young cross-talk actors use this kind of alternative creation and performance to truly be worthy of the "new text and cross-talk"!