Recently, Zhang Yunlei used indecent vocabulary in a cross talk to "smash up" the famous Peking opera performer Li Shiji and the famous Peking opera artist Zhang Huoding, causing an uproar. Judging by the standards of public order and good customs, such words really insult women and have no morals. (Previous report → Zhang Yunlei and Yang Jiulang of Deyun News Agency have angered the public again. This time they are making a disgusting joke on female seniors! Netizen: can't bear it)
However, some people think that it is nothing new that comedians use opera actors to "smash up". It's just a means of cross talk. So how does traditional cross talk use opera actors as "burden"?
Ma Sanli’s cross talk also includes "Theatrical opera actors taking a shower."
The video clips circulated on the Internet can be seen, Zhang Yunlei is acting a big talker, he says he is very familiar with Peking opera actors, but in fact he even has the gender of these actors. I don't know, let alone how much I can understand Peking Opera.
Actually, there are many similar characters in traditional cross talk. The most famous one is Ma Sanli’s "Selling Tickets"↓
In "Selling Tickets", Ma Sanli has a phrase saying that he is Fu Liancheng "Hi "The generation of characters, called Ma Xizao (homonymous "bath"), and Hou Xirui are in the same family, to Li Shengzao to teach opera. He said: "My name is'Xizao' and his name is'Shengzao'. I wash and leave him to wash..." Although the
work did not involve female opera actors, it also involved actresses. Ma Sanli deliberately referred to Liu Xikui as Wei Xikui when he talked about famous experts in the same discipline. Wei Xikui is a famous Fengdiao drum performance artist and a female.
is also a character who speaks big words. How can there be any uncivilized words in Ma Sanli's life?
And in the second half of "Selling Tickets", Jin Shaoshan was also involved. Ma Xizao was putting on make-up before the performance. Jin Shaoshan suddenly visited him and saw everyone. He insisted to see Ma Xizao: "Which horse owner? Which horse owner is Ma Xizao? Which one takes a bath?"
"My name is Ma." Ma. Sanli went on to say, "You're looking for me, what's the matter?"
"Jin Shaoshan" said: "I heard that you posted Dolton, I will have nothing to eat... I will listen to you today, then listen to me. The money is not worth it! In any case, you reward me for something to eat, and I will come to Doulton."
here brings Jin Shaoshan out, not only to create the image of Ma Xizao, an exaggerated character, but also to replay the following Ma Xizao from the story. Huang Tianba's explanation will naturally lead to the next detail-Ma Xizao listened to Jin Shaoshan sing "Stealing the Horse" and commented on "Nothing" and "It's completely different from me". And the "burden" fell on Pengchao's concluding speech: "Yes, he wants to be like you, he is not covered."
therefore "Jin Shaoshan"-later, Ma Zhiming changed it when he used this work. Meng Guanglu--He didn't appear casually here, he must be prepared for the latter "burden".
There is another problem here: some fans of Zhang Yunlei believe that those insults are not Zhang Yunlei but the character played by Zhang Yunlei. Those words are for character creation, not Zhang Yunlei's subjective intention.
From the perspective of narrative art, cross talk actors always switch their identities between the person in the play and the third person, which is commonly referred to as "jumping in and out", "burden" sometimes laughs in the story, sometimes laughs outside the story . This time Zhang Yunlei used the stalk, coupled with some actions and admiration, and the audience laughed at reality Zhang Yunlei's pornographic jokes with female Peking opera actors. In
comics, there are many works involving opera themes that have the "baggage" of the famous role. In addition to the narrative works like "Selling Tickets", there are also a lot of sings for learning. For example, "Study Bangzi", cross talk artist Guo Rongqi packaged himself like this:
"Hebei Bangzi actor has an old Mr. Yin Dazi, I learned from him. He is Yin Dazi..."
"Where are you?"
"Me It's Tie Dazi."
Generally speaking, if cross talk is associated with opera actors, it is basically derogating "cross talk actors" and promoting opera actors. This is not only the need of the narrative itself, but also a kind of "rituals" , after all, it is based on other people's industry and always respects them.
satirizes Peking opera actors but never names them
Opera, especially Peking opera, was once the most important and popular entertainment industry in China. As an art form known for its satire, it is impossible for cross talk to bypass Peking opera. The cross talk satirizes the Peking opera industry, basically it satirizes the actors’ lack of professionalism,Stage accidents mainly occur.
For example, in the traditional slogan "Wen Zhaoguan", the old student who played Wu Zixu took off his sword every time he went off the court, but when he came on the court, he changed someone with the bag's business, instead of hanging a sword for Wu Zixu, and changed his waist knife. Wu Zixu was busy talking about it and didn't pay attention to it. When he went on the field and found that he was wrong, he could only make up the words temporarily. The original word of
is "After day after day, my heart feels like boiling. A three-foot sword hangs in my waist and cannot repay my parents for injustice." The actor changed to "After one dynasty, my heart seemed to be filled with oil. I spent all the money all the way, and sold the sword in exchange for a knife."
is another example of a satirical actor who doesn't speak morality on stage. Four people played mahjong the first day, and the one who lost the money held a grudge, the next day he played "Lost Time", the winner played Zhuge Liang, and the loser played the banner official. After reading the geographic map sent by Wang Ping, Zhuge Liang ordered the banner officer to transfer Zhao Yun. As a result, the one who played the flag card officer added a sentence: "What if General Zhao isn't there?" Zhuge Liang heard it and understood that he still remembered playing mahjong. He quickly made up a sentence in his mind: "If General Zhao is not there...you can attach your ears." The banner officer walked to Zhuge Liang, and Zhuge Liang whispered to the banner officer, "I am your father!" Look at the flag officer: "Take the order!" He ended.
In addition, "Yangping Pass" and "Weishui River" are all satirical dramas of opera actors' performance accidents, many of which are real people, such as "Wenzhao Pass" and "Lost in Time". However, cross talk is all about the matter, without a name, let alone find a Chinese opera actor at random to put it on. The reason for
is that although the "accident" is a real thing, it has been spread for a long time, and there are different opinions about who the person involved is. For example, in "Wenzhaoguan", the person who carried the knife was said to be Tan Xinpei or Cheng Changgeng or Wang Guifen. Once you enter the cross talk, there must be interpretation. What if someone makes trouble for you? The cross talk actors at that time were not protected by a "rice ring" as they are now, and their status was low, so safety was the first priority. In addition, artists always say that they should leave a meal for others, and don't break their rice bowl. This is a kind of kindness, and perhaps one of the most important virtues of artists in the past.
has a real name and surname, but talks about the actor's suffering.
is a cross talk about opera actors, and a large part of it shows the actual lives of actors. Once these works use the real names of opera actors, they must express the hardships of the actors' lives and be oppressed by the powerful. The most famous works are "Diversion" and "Guan Gong Fights Qin Qiong" (in Zhang Jieyao's version, Qin Qiong was played by the senior Peking opera master Shi Huibao).
takes "Diversion" as an example. The background of the story is either the death of the emperor or the offending of those in power. Peking opera actors cannot be on stage. They can only change their careers in order to make a living. For example, Gong Yunfu sells vegetables, Qilintong sells steamed buns, Jin Shaoshan sells watermelons, Mei Lanfang sells flowers and so on. In different periods, the actors who changed their careers were different.
jokes like this are both learned to sing and have a storyline. They criticize the dictatorship of the old rulers by showing the famous characters in their lives. They have a strong contemporary and social nature. These are relatively more advanced and classic works in traditional cross talk, reflecting the social significance of traditional cross talk and the pattern and feelings of the creator. Producer of
|Gaoshan
