Crosstalk originated in Beijing and originated in Tianjin. The old social artists who made a name for themselves wanted to go to Beijing Tianqiao, and when the art pressure was a pedestrian, they had to run to Tianjin three times. There is an old TV series called "Tianqiao Dream", which tells the story of the critic Xiao Bai yushuang, and has a rough description of the situation of the old social artist Chao Tianqiao.
The difference between the two places: the overpass can be visited by anyone, in the current parlance, called "elegant and common appreciation", three no matter where the poor go, there are two bad money in the family who do not go to that place. There are too many "indecent" things in that place, singing small songs during the day and picking up customers at night, earning money.
Because of the different ecology, the artists in the two places have some grudges, mainly The Beijing artists look down on Tianjin artists. In 1988, Ma Sanli took in Jiang Baolin, and the latter's speech fully illustrates this point.
This recording B station has a full version of the video, interested friends can go to listen to it, Ma Lao also has more than 20 minutes of speech.
Jiang Baolin mainly talked about two points, which basically revolved around the "Beijing-Tianjin dispute" and unfolded. First of all, he talked about worshiping Master Ma Sanli. When Jiang Baolin said that he would worship Mr. Ma Sanli as a teacher, some colleagues in Beijing expressed dissatisfaction, saying why should they worship a Tianjin artist as a master, is there no one in Beijing?
Jiang Baolin's response is very interesting: if you want to be higher than him, I can also worship you, and the other party will not speak. The resentment between the artists in the two places is so deep that even Ma Lao can't hold back.
The second point is the first cross-talk competition in 1986. Jiang Baolin was blunt, saying that only two of the dozens of works were real cross-talk, one was Ma Zhiming's, and the other was not clear who could hear. Some artists hold guitars on stage and sing two songs for seven or eight minutes, which is not called crosstalk.
Ironically, because this kind of work reflects the spirit of the times because it caters to the trend, the score is often not low. Jiang Baolin expressed helplessness in this regard: We said it does not count. Who has the final say? The judges, mainly the Beijing gang.
Jiang Baolin means that singing can be, but not to dominate. The core of crosstalk is still "talking" and "teasing", "singing" and "learning" can only be embellishments.
Jiang Baolin's words involve a grudge of more than 60 years. In 1957, Zhang Shouchen made a public speech at the tianjin drama association conference, pointing out that there was a phenomenon of "heavy singing and light talking" in the cross-talk industry, and Bing Feng pointed directly at The Beijing artists. Shou Lao's speech was unanimously endorsed by his colleagues in Tianjin, including Ma Sanli Zhao Peiru.
Zhang Shouchen's speech was quickly reported, and his colleagues in Beijing were not happy. The Beijing artists led by Gao Deming confronted each other and refuted Zhang Shouchen's three views one by one. Artists in Beijing taunted Zhang Shouchen Ma Sanli, saying, "If you have a voice, you can sing."
This incident was very big that year, almost triggered a big fight between artists in Beijing and Tianjin, and finally Zhang Shouchen had to come forward to clarify, saying that he did not mean that, but the reporter took it out of context.
In fact, Zhang Shouchen does not need to "clarify", his attitude has always been very clear. In the 1940s, when Hou Baolin went south to Tianjin, Zhang Shouchen privately expressed his dissatisfaction, believing that Hou sang too much and was not a cross-talk.
Zhao Peiru, a famous artist who is recognized by the cross-talk community as a "person in ancient times", is recognized as a tease in the cross-talk industry, and his attitude is worth playing.
Zhao Peiru should be counted as a Tianjin artist, and the artistic highlight period was active in Tianjin. However, Zhao Peiru seems to be more inclined to the Beijing system of cross-talk, but has a lot of criticism of Jinmen cross-talk.
Zhao Peiru has an apprentice named Gao Yingpei, who is famous for his fire stalls in Tianjin. Zhao Peiru accidentally listened to Gao Yingpei's cross-talk on the radio, and before listening, she said to the staff, "After the performance, let Yingpei come to my house."
After Gao Yingpei arrived home, Zhao Peiru asked him to kneel, and knelt for more than three hours from morning to noon, ignoring him. In the end, it was Master Niang who came forward to save Gao Yingpei, saying that Master blamed him for shaking his baggage when he used Tianjin dialect to "turn his mouth".
Zhao Peiru spoke very heavily, saying that cross-talk must be in Mandarin, and turning the baggage in Tianjin dialect showed that he was impatient. This sentence can be regarded as a slap in the face to all Jinmen artists: Even Ma Sanli took Zhang Shouchen, and no Tianjin artist turned over the baggage and did not use Tianjin dialect.
The enmity between the artists of the two places can be seen from the words and deeds of the masters. On the surface, it is a dispute over art, and the struggle for discourse power is essentially a struggle between the shackles and anti-shackles of art and integrity. Until the rise of Guo Degang's famous small theater, xiangsheng can truly return to itself and gain a new life.