Source: Overseas Network
Video loading...
As a traditional Chinese form of music and art, cross-talk is widely welcomed by compatriots on both sides of the strait. The development of cross-talk in Taiwan began in 1949. Wu Zhaonan, known as the "national treasure of the world," and other Beijing cross-talk actors retired to Taiwan with the Kuomintang authorities and began to host cross-talk programs on the China Broadcasting Corporation and police radio stations, allowing cross-talk to enter the lives of Taiwanese people.
Taiwan's cross-talk has experienced a low point, and the reasons are very similar to those of the mainland. At that time, there were fewer and fewer venues for live cross-talk performances in Taiwan, and the launch of the island's television station in 1962 gave all theatrical performances a blow. After the 1960s, the people of Taiwan could only see some eight-strand cross-talk of the "singing merits and praising virtue" at labor activities organized by the Kuomintang authorities or large-scale evening parties. As a result, Taiwanese people watched TV at that time, and as soon as they saw crosstalk, they directly changed stations. Since then, the development of Taiwan's cross-talk has entered a low tide period of more than 20 years. However, in the long period of lows, Wei Longhao, Wu Zhaonan and other artists of the older generation collected materials and produced records such as "Crosstalk Collection", "Crosstalk Selection" and "Crosstalk Scavenging", which reserved the fire for crosstalk in Baodao.
The revival of Taiwanese crosstalk began in the 1980s. In March 1985, director Lai Shengchuan set up an acting workshop and launched the stage play "That Night, We Say Crosstalk", which caused a sensation on the island. Many music and art groups were also established at this time, and the "Cross-talk Washe", which is now familiar to Taiwanese audiences, was composed of Feng Yigang and Song Shaoqing at this stage. At this stage, the revitalization of Taiwanese cross-talk has integrated stage drama into traditional cross-talk, making itself "old-fashioned" cross-talk and becoming a new art that can be appreciated by young people.
Since the beginning of the new century, the mainland cross-talk has regained lost ground, changed the audience's habit of "changing taiwan as soon as they see cross-talk," entered a stage of rapid development, and also opened a new door for Taiwan's cross-talk. Ye Yi, the "big sister" who hugged the two doors of cross-talk and storytelling, was active on the stage on both sides of the strait; Zhu Degang, Fan Guangyao, and others appeared on the mainland Spring Festival Gala; and the beautiful cross-talk actor Ji Tianyu joined the Deyun Society's performance team. The exchange of music and art between the two sides of the strait is like glue like lacquer.
From the integration of stage drama and cross-talk, it can be seen that Taiwan's cross-talk theme is novel, the production is not limited by ideas, and the form is mixed and eclectic. On the mainland side, because the famous teachers have not been broken, the performance methods are more abundant, the basic skills of the actors are better, and the stage appeal is stronger.
The jagged common beauty between the two sides of the strait and the mutual exchange of information are the blessings of cross-strait cross-strait cross-talk, the blessing of audiences on both sides of the strait, and the blessing of cross-strait cultural exchanges. Zhu Degang, a famous Taiwanese actor, said it well: "For us Taiwanese cross-talk actors, cross-strait exchanges are really important. ”
Curator/Niu Ning
Copywriter/Zheng Yuntian
Anchor/Zheng Yuntian
Late/Zhao Yichen