As the old saying goes, "Three points of fun, seven points of praise". This is by no means a compliment to the actor, and the importance of the praise is probably only most deeply appreciated by the comic actor as a partner. Getting a lot of work assistants in the artistic career, even if it is only a short-term cooperation in stages, will benefit the comic actors endlessly.
For the old listeners who have listened to more than ten years, perhaps everyone has the best praise in their minds. Among the generations of cross-talk artists, there are many masters who have held the bull's ear, among which Zhao Peiru and Zhu Xiangchen are undoubtedly the bull ears holders in the giants. Both peers and audiences have given these two extremely high evaluations. Even in the eyes of many "old stickers", no matter who compares the two with, the other party will inevitably suffer losses. As a junior cross-talk artist, even if you can cooperate with one of them, it is a rare opportunity to improve your art industry. But these two really gave the same junior a thumbs up. This lucky person is Su Wenmao, who was later revered as a master of Wen Qi.
Su Wenmao partnered with Zhu Xiangchen for many years, and before that, Zhu Xiangchen had been working with his uncle Guo Rongqi. It is said that mr. Guo took the initiative to give up such a large number of jobs as Zhu Xiangchen out of the promotion of the younger generation. In his youth, Su Wenmao's artistic style has a profound imprint of Chang's cross-talk, and he is good at portraying characters through rich action expressions and paying attention to stage performances. Zhu Xiangchen has always shown people with cold noodles, and his grasp of size and heat is extremely accurate. For example, at that time, Su Wenmao was like an elegant dancer, unhurriedly showing his artistic talent to the audience, while Zhu Xiangchen was more like an invisible giant palm holding the dancer, giving the other party a wide enough space to play, and there would be no worries about falling offstage.
Everyone may wish to recall that among Su Wenmao's masterpieces, at least 70% of them are the fine works left behind when he partnered with Zhu Xiangchen. Like the audience is familiar with "Crooked Criticism of the Three Kingdoms", "On The Tease", "Fu Yaoqin", "Meeting Fans", "Fame and Fame", "Miscellaneous Talks Lost in the Air", etc., slightly unpopular, but also worth recalling and chewing are "New Trademark" and "Learning Zhang Shizhen".
It is this period of classic cooperation that refines Su Wenmao's performing arts to perfection. Insider audiences also experienced the artistic charm of Zhu Xiangchen's praise through these precious recording materials. For example, in the work of "On Praise", Mr. Zhu has such a sentence: "Our family has three relatives and six relatives, so there are no big and small ones, and I didn't raise a yellow bird the day before yesterday." Compared with the general praise, "In order to tell you about this cross-talk, our family's three relatives and six relatives are dead", which is high and which is low is clear at a glance.
The other one doesn't need to be flattered. Even aside from the praise of Ma's father and son for his "eternal one", Zhao Peiru's artistic achievements in teasing the two doors are all witnessed in the industry. Whether it was the cooperation between Chu Duo and Li Shouzeng in the early years, or the later praise for Xiao Mushroom and Ma Sanli, they all showed outstanding artistic talent. At that time, he was also willing to serve as a foil for Su Wenmao, but the recording materials left by these two were relatively small, and only two passages of "All German Newspaper" and "Anyway" survived.
Taking "Quande Bao" as an example, he can completely pose as an old boy to Su Wenmao, but Zhao Peiru does not, because once this is the case, the role positioning of the actor in this job will inevitably be biased, and the result is likely to hinder the baggage. Although it is Su Wenmao who is amused, the rhythm of the whole performance is all in the hands of Zhao Peiru. Generally speaking, "Quande Bao" is easy to make a fuss in the leg work, but the interpretation of Su Zhao's version is completely based on the basis of following the character role, and each burden is not a trouble, it has been carefully laid out.
Zhao Peiru's apprentice Ma Zhicun also gave Su Wenmao a long time. At this time, Su Wenmao's performance style is becoming more and more mature, and his control over the rhythm of the performance is more comfortable. Being able to temper into a generation of Wen Wei masters, it is undeniable that the teacher Chang Baokun is indispensable. In addition, the "pinching" of senior people in the business field has also played an important role in the accumulation of actors' stage experience and the improvement of artistic understanding.