Since the founding of the People's Republic of China, crosstalk art has moved from "setting up stalls on the ground" to the palace of art, and has undergone tremendous changes: the performance venue has changed from teahouses to theaters and even stadiums, and the way of appreciation has expanded from face-to-face to listening to the radio and watching TV. Today People can also enjoy crosstalk through online live broadcasts and short videos. With the development of communication media, the diversification of performance venues, and the improvement of audience aesthetics, the art of crosstalk undoubtedly needs continuous reform and innovation.
Traditional cross talk involves many types of songs, but the performance methods are often relatively simple and have heavy traces of stereotypes. They focus on the "speaking" of cross talk and various rap skills. In the context of the new era, crosstalk actors must not only be able to "speak" crosstalk, but also "act" crosstalk. The performance emphasized here refers to the process of portraying characters and performing stories. Only by placing crosstalk performances within the entire performing arts trend and comparing and identifying them can we have a deep understanding of the characteristics of crosstalk performances, and then learn from and integrate the strengths of each to make the crosstalk performing arts continue to develop.
The difference between cross talk performances and opera performances lies in "appearing in the explanation" and "appearing in the explanation"
Opera evolved from folk arts and developed into a complete performance system, including singing, chanting, doing fighting, hand, eye and body The "Four Skills and Five Methods" of Fabu, beautiful programmed performances, complete role trades, rich singing system, colorful performance genres, etc. Folk art performances, including cross talk, in turn benefit from opera performance, especially its combination of experience and performance.
Take "Universal Frontier" as an example, which is the play that the Peking Opera master Mei Lanfang considers to be the most profound. He once talked about his experience playing the role of Zhao Yanrong: "When we play the character on stage, we are already pretending. The character in the play is pretending to be a madman in the play. We have to take care that she is pretending to be crazy at all times. It’s not really crazy. It all depends on her expression.” In order to accurately describe the emotions of the character and show her complex and contradictory emotions, Mei Lanfang’s approach is to “first forget that she is an actor.” , and then melt into one with the characters in the play.” He finds external actions based on inner experience, forming a perfect combination of experience and expression, character awareness and self-awareness, realism and freehand brushwork. This process can be said to be the essence of opera performance and the source of reference and learning for cross talk performance.
However, there are still big differences between folk art performances and opera performances. The most obvious difference is that compared with opera, which focuses more on "showing oneself and speaking out", folk art focuses more on "showing oneself in speaking". Of course, there are many traditional crosstalk performances that are similar to operas in which one "acts with one's body" and enters into the characters, such as "The Mandarin Jacket" and "Looking for a Hall"; but crosstalk performances not only jump into the characters, but also jump out of the characters to communicate with the audience. Generally speaking, opera uses one person with one foot (color) to express the characters; while cross talk uses one person with multiple feet (color), constantly changing. Opera mainly uses actions to show events, which is a mimetic performance; crosstalk actors use language to guide the narrative and enter into the characters through simulated performances. Therefore, cross talk performances can be flexibly transformed, combining experience and performance, in and out, entering into the characters and communicating with the audience, and have the characteristics of integrated interaction between viewing and performance.
Crosstalk performances are also different from opera performances in terms of telling stories, describing environments, expressing emotions, etc.: operas are complete paragraphs, while crosstalk is short fragments; opera expresses characters on multiple levels, while crosstalk depicts characters in a cartoon style; opera uses programmed movements to enter Crosstalk uses programs to create comedy effects on characters and situations; opera expresses poetry and forms an artistic and classic performance; crosstalk conforms to the times and is popular with the world. It is a lively performance that is integrated into people's lives and embodies folk wisdom and humor. .
In short, the characteristic of "appearing in the explanation" makes cross talk go between characters and the audience, switching between character portrayal and commentary. Therefore, it is more hypothetical and requires more whimsical ideas to make the audience generate thoughts. Resonate and get happy enjoyment.
Crosstalk performances not only involve character experience, but also serve as self-communication with the audience
Compared with rhymes and narrative singing, crosstalk pays more attention to "speaking". In particular, cross talk pays more attention to "dialogue". You speak and I speak. It pays attention to communication, judgment and adaptation, rhythm, size and strength. From this point of view, cross talk performances are similar in form to drama performances. Different from Chinese opera, modern Western drama emphasizes realistic performance, and each has its own end. Stanislavski's experiential school emphasizes the integration of actors and roles, and even becomes the character, living on the stage; Brecht's alienation school emphasizes the different unity between the actor's consciousness and the role, and the actor responds to the role while performing the role. Become aware of yourself and distance yourself from the character. Crosstalk performance requires actors to not only enter the character experience, but also communicate with the audience as themselves (or narrators), and establish relationships with themselves, characters (and partners), and the audience.
Crosstalk actors must realize that experience is the prerequisite for performance. Without the experience of entering the characters, there will inevitably be a gap between them and the simulated characters. Only by thinking and acting according to the logic of the characters in the story, and immersing ourselves in the lives of the characters with life and emotional experiences, can we find external actions and forms suitable for expressing the characters, and can we gradually transition from "if I am" to "I am" and eliminate them. The feeling of "acting".
Crosstalk actors not only perform characters, but also act as spokespersons for the audience. In this sense, crosstalk performances bear similarities to Brecht's method of alienation. But the alienation Brecht mentioned does not communicate with the audience. It means that "the actors do not deliberately be realistic, but use narrative performances to make the audience think." However, crosstalk actors can communicate with the audience through the performance method. More flexible and faster conversion. In cross talk performances, the relationships between actors and themselves, actors and characters, actors and partners, actors and audiences are constantly changing, in order to infect and make the audience emotional, so as to achieve the purpose of making the audience judge and reflect after laughing. Effect.
Crosstalk is never aloof or trying to teach others, nor does it look down upon itself or degrade itself into a slave. Instead, it talks heartily, makes friends with the audience, and reaches a state of humor. If a crosstalk actor lacks experience and does not really listen, watch and feel, it will be difficult to portray the characters; if he does not refine carefully after experience, he will not be able to find suitable language and action expressions, and can only stay at the expression of his inner self. Therefore, experience, expression, and distance are all extremely important for cross talk performances. It is on this basis that communication with the audience forms the unique humorous narrative performance style of cross talk.
Crosstalk performance does not pursue "physical resemblance" but "spiritual resemblance"
Through the above comparison with opera, drama and other stage art categories, we can have a deeper understanding of the performance characteristics of crosstalk. Its characteristics can be summarized as a "semi-fake" performance. This kind of performance does not pursue absolute "physical resemblance", but combines three methods of experience, expression and alienation to achieve a "spiritual resemblance" effect, which is specifically reflected in the following aspects. .
One is jumping in and out, that is, the crosstalk actors jump in and out of characters and situations during the performance. Closely related to this is the clown in opera, especially the martial clown in Peking Opera, who can also jump out of the character and stage situation to communicate directly with the audience, becoming a comedic factor, in line with the art proverb "There is no drama without ugliness". In cross talk, when entering characters or stories, it is a simulation of reality; when jumping out of characters and situations, it is narration or commentary.
The second is a virtual simulated performance. Drama, film and television performances require actors to enter roles and situations, and immerse themselves in the role as completely as possible. It is a kind of imitative performance.When a crosstalk actor enters a character, his words and actions are a kind of point-to-point virtual simulation, and most of them are comedic and exaggerated simulation performances, which are a combination of fiction and reality, half truth and half false. This kind of performance does not require a realistic representation, not a physical resemblance but a spiritual resemblance.
third is the flexible conversion between first person and third person. Drama actors perform "realistic" performances through makeup and stereotypes, and "act out" in the first person. When simulating the characters in the story, cross talk performances are performed in the first person to perform typing or caricature; when jumping out of the characters and situations, they are narrated or evaluated in the third person, that is, the identity of the actor or the narrator. First-person and third-person can be flexibly switched and seamlessly connected according to the needs of the narrative. Of course, some people think that cross talk performances have a "second person", which actually refers to the personal relationship between the actor and his partner. This issue will not be discussed in this article.
Therefore, the most prominent characteristics of crosstalk performance are semi-falseness and the transformation of reality into reality, while the essence of crosstalk performance can be summarized as "jumping in and out" that combines experience, expression and distance. During the performance, the crosstalk actor must constantly switch between the three identities of himself as an actor, the "I" who simulates the character, and the "I" who narrates and comments, and demonstrates his superb skills through description, narration, and commentary. , bringing pleasure and thinking to the audience.
Since the founding of the People's Republic of China, crosstalk art has moved from "setting up stalls on the ground" to the palace of art, and has undergone tremendous changes: the performance venue has changed from teahouses to theaters and even stadiums, and the way of appreciation has expanded from face-to-face to listening to the radio and watching TV. Today People can also enjoy crosstalk through online live broadcasts and short videos. With the development of communication media, the diversification of performance venues, and the improvement of audience aesthetics, the art of crosstalk undoubtedly needs continuous reform and innovation.
Traditional cross talk involves many types of songs, but the performance methods are often relatively simple and have heavy traces of stereotypes. They focus on the "speaking" of cross talk and various rap skills. In the context of the new era, crosstalk actors must not only be able to "speak" crosstalk, but also "act" crosstalk. The performance emphasized here refers to the process of portraying characters and performing stories. Only by placing crosstalk performances within the entire performing arts trend and comparing and identifying them can we have a deep understanding of the characteristics of crosstalk performances, and then learn from and integrate the strengths of each to make the crosstalk performing arts continue to develop.
The difference between cross talk performances and opera performances lies in "appearing in the explanation" and "appearing in the explanation"
Opera evolved from folk arts and developed into a complete performance system, including singing, chanting, doing fighting, hand, eye and body The "Four Skills and Five Methods" of Fabu, beautiful programmed performances, complete role trades, rich singing system, colorful performance genres, etc. Folk art performances, including cross talk, in turn benefit from opera performance, especially its combination of experience and performance.
Take "Universal Frontier" as an example, which is the play that the Peking Opera master Mei Lanfang considers to be the most profound. He once talked about his experience playing the role of Zhao Yanrong: "When we play the character on stage, we are already pretending. The character in the play is pretending to be a madman in the play. We have to take care that she is pretending to be crazy at all times. It’s not really crazy. It all depends on her expression.” In order to accurately describe the emotions of the character and show her complex and contradictory emotions, Mei Lanfang’s approach is to “first forget that she is an actor.” , and then melt into one with the characters in the play.” He finds external actions based on inner experience, forming a perfect combination of experience and expression, character awareness and self-awareness, realism and freehand brushwork. This process can be said to be the essence of opera performance and the source of reference and learning for cross talk performance.
However, there are still big differences between folk art performances and opera performances. The most obvious difference is that compared with opera, which focuses more on "showing oneself and speaking out", folk art focuses more on "showing oneself in speaking". Of course, there are many traditional crosstalk performances that are similar to operas in which one "acts with one's body" and enters into the characters, such as "The Mandarin Jacket" and "Looking for a Hall"; but crosstalk performances not only jump into the characters, but also jump out of the characters to communicate with the audience. Generally speaking, opera uses one person with one foot (color) to express the characters; while cross talk uses one person with multiple feet (color), constantly changing. Opera mainly uses actions to show events, which is a mimetic performance; crosstalk actors use language to guide the narrative and enter into the characters through simulated performances. Therefore, cross talk performances can be flexibly transformed, combining experience and performance, in and out, entering into the characters and communicating with the audience, and have the characteristics of integrated interaction between viewing and performance.
Crosstalk performances are also different from opera performances in terms of telling stories, describing environments, expressing emotions, etc.: operas are complete paragraphs, while crosstalk is short fragments; opera expresses characters on multiple levels, while crosstalk depicts characters in a cartoon style; opera uses programmed movements to enter Crosstalk uses programs to create comedy effects on characters and situations; opera expresses poetry and forms an artistic and classic performance; crosstalk conforms to the times and is popular with the world. It is a lively performance that is integrated into people's lives and embodies folk wisdom and humor. .
In short, the characteristic of "appearing in the explanation" makes cross talk go between characters and the audience, switching between character portrayal and commentary. Therefore, it is more hypothetical and requires more whimsical ideas to make the audience generate thoughts. Resonate and get happy enjoyment.
Crosstalk performances not only involve character experience, but also serve as self-communication with the audience
Compared with rhymes and narrative singing, crosstalk pays more attention to "speaking". In particular, cross talk pays more attention to "dialogue". You speak and I speak. It pays attention to communication, judgment and adaptation, rhythm, size and strength. From this point of view, cross talk performances are similar in form to drama performances. Different from Chinese opera, modern Western drama emphasizes realistic performance, and each has its own end. Stanislavski's experiential school emphasizes the integration of actors and roles, and even becomes the character, living on the stage; Brecht's alienation school emphasizes the different unity between the actor's consciousness and the role, and the actor responds to the role while performing the role. Become aware of yourself and distance yourself from the character. Crosstalk performance requires actors to not only enter the character experience, but also communicate with the audience as themselves (or narrators), and establish relationships with themselves, characters (and partners), and the audience.
Crosstalk actors must realize that experience is the prerequisite for performance. Without the experience of entering the characters, there will inevitably be a gap between them and the simulated characters. Only by thinking and acting according to the logic of the characters in the story, and immersing ourselves in the lives of the characters with life and emotional experiences, can we find external actions and forms suitable for expressing the characters, and can we gradually transition from "if I am" to "I am" and eliminate them. The feeling of "acting".
Crosstalk actors not only perform characters, but also act as spokespersons for the audience. In this sense, crosstalk performances bear similarities to Brecht's method of alienation. But the alienation Brecht mentioned does not communicate with the audience. It means that "the actors do not deliberately be realistic, but use narrative performances to make the audience think." However, crosstalk actors can communicate with the audience through the performance method. More flexible and faster conversion. In cross talk performances, the relationships between actors and themselves, actors and characters, actors and partners, actors and audiences are constantly changing, in order to infect and make the audience emotional, so as to achieve the purpose of making the audience judge and reflect after laughing. Effect.
Crosstalk is never aloof or trying to teach others, nor does it look down upon itself or degrade itself into a slave. Instead, it talks heartily, makes friends with the audience, and reaches a state of humor. If a crosstalk actor lacks experience and does not really listen, watch and feel, it will be difficult to portray the characters; if he does not refine carefully after experience, he will not be able to find suitable language and action expressions, and can only stay at the expression of his inner self. Therefore, experience, expression, and distance are all extremely important for cross talk performances. It is on this basis that communication with the audience forms the unique humorous narrative performance style of cross talk.
Crosstalk performance does not pursue "physical resemblance" but "spiritual resemblance"
Through the above comparison with opera, drama and other stage art categories, we can have a deeper understanding of the performance characteristics of crosstalk. Its characteristics can be summarized as a "semi-fake" performance. This kind of performance does not pursue absolute "physical resemblance", but combines three methods of experience, expression and alienation to achieve a "spiritual resemblance" effect, which is specifically reflected in the following aspects. .
One is jumping in and out, that is, the crosstalk actors jump in and out of characters and situations during the performance. Closely related to this is the clown in opera, especially the martial clown in Peking Opera, who can also jump out of the character and stage situation to communicate directly with the audience, becoming a comedic factor, in line with the art proverb "There is no drama without ugliness". In cross talk, when entering characters or stories, it is a simulation of reality; when jumping out of characters and situations, it is narration or commentary.
The second is a virtual simulated performance. Drama, film and television performances require actors to enter roles and situations, and immerse themselves in the role as completely as possible. It is a kind of imitative performance.When a crosstalk actor enters a character, his words and actions are a kind of point-to-point virtual simulation, and most of them are comedic and exaggerated simulation performances, which are a combination of fiction and reality, half truth and half false. This kind of performance does not require a realistic representation, not a physical resemblance but a spiritual resemblance.
third is the flexible conversion between first person and third person. Drama actors perform "realistic" performances through makeup and stereotypes, and "act out" in the first person. When simulating the characters in the story, cross talk performances are performed in the first person to perform typing or caricature; when jumping out of the characters and situations, they are narrated or evaluated in the third person, that is, the identity of the actor or the narrator. First-person and third-person can be flexibly switched and seamlessly connected according to the needs of the narrative. Of course, some people think that cross talk performances have a "second person", which actually refers to the personal relationship between the actor and his partner. This issue will not be discussed in this article.
Therefore, the most prominent characteristics of crosstalk performance are semi-falseness and the transformation of reality into reality, while the essence of crosstalk performance can be summarized as "jumping in and out" that combines experience, expression and distance. During the performance, the crosstalk actor must constantly switch between the three identities of himself as an actor, the "I" who simulates the character, and the "I" who narrates and comments, and demonstrates his superb skills through description, narration, and commentary. , bringing pleasure and thinking to the audience.
(Author: Feng Gong, Vice Chairman of China Federation of Literary and Art Circles and Chairman of China Music Association)
Source: Guangming Daily
Author: Feng Gong
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