Therefore, a keen sense of social life, coupled with the unique form of cross talk, will make people feel * * * * about cross talk, and cross talk art will also be valued. Knowledge, skillful language skills, correct three views, supplemented by humorous transmission, are the permanent survival ways of cross talk in the future.
Speaking of Pinkley, his greatest contribution should be that he let everyone participate in cross talk, let those who dream of entering the industry suffer from poor looks and family circumstances, but let those who have no help see hope.
So a five-ring song, in fact, even if the person you like doesn't understand why you like it, you should sing along, because its lyrics are easy to remember and its melody is beautiful. There is also the general rebellious mentality of the whole society: I just like it and don't break the law?
The reason why crosstalk has fallen for a period of time is actually the fall of most crosstalk practitioners. The outside world is so noisy that everyone is chasing it. Degang Guo seems to be forced by life and has become an art of cross talk. Apart from this real reason, he is rooted in his love of cross talk. He has a sense of mission to cross talk. This is the most admirable.
Many of our orthodox, professional and famous people stand up and say this and that, which is an alternative expression of their remorse that they will never return to the glory of the past and humiliate the "revolutionary tradition." None of them want to be "a thing of the past".
Without comparison, we don't know whether it is good or bad, and so is a program. Every actor has his own responsibilities. Imagine a three-hour crosstalk performance, in which each pair of actors performs according to Degang Guo's method. I guess the audience is exhausted. Without an audience, how can cross talk exist? The quality of actors should be diversified, and each presentation is actually the performance of actors' skills. This is actually the mission of actors.
Like other arts, crosstalk pays more attention to tradition and innovation. Although Yun-peng Yue's cross talk today is different from the cross talk tradition, his difference does not leave the funny characteristics, but attaches importance to the charm of the actors themselves, and wins the psychological comfort of the audience with his own meanness and moderate meanness, thus gaining aesthetic interest.
People who question Yun-peng Yue's "brick industry" probably haven't performed on stage for a long time, and don't want to die alone with the national salary. It is also worthwhile to comment on Yun-peng Yue. What is crosstalk? It is a traditional stall culture for ordinary people to laugh and be happy. It was Master Hou and Ma Ji who only raised it to the level of "art" to raise its popularity and dragged it back to ordinary people who were grounded. On the basic skills of speaking, learning and singing, Yun-peng Yue is many times stronger than the mainstream in Jiang Kun.