Crosstalk performance skills-Hou 2006- 12- 19 08:57 "Talk about cross talk, talk about cross talk", which shows that cross talk mainly depends on talking. If it is not clear, you can say it again; The other party misunderstood, which can be explained, but there is absolutely no chance of cross talk. Crosstalk, whether telling stories or describing characters, is all about talking. Therefore, the words of crosstalk performers should be more vivid and expressive.

I. Language

The sound is long and short, light and heavy, and different sounds give people different impressions. When we speak, we often emphasize the main part of a sentence in our voice, so that people can understand the meaning of this sentence as soon as they hear it. This emphasis is the stress of this sentence.

For example, there are so many dialogues in Night Tour:

"B said: People know who you are?

A said, yes, I know who he is calling.

B said: that's calling you! "

In the first sentence, the stress is added to the word "yes": "People know who you are." This sentence shows that there are so many people on the road that the police can't know them all. In the second sentence, the stress is added to the word "shout": "I know who he is calling". This sentence expresses that A is unreasonable. Obviously, he violated the traffic rules and the traffic police called him, but he refused to admit it. In the third sentence, the stress is added to the word "JIU", "That's where I called you", which makes all the conversations between Party A and Party B clear at a glance. "No one is calling you because you don't obey the traffic rules."

If you change the position of the stress, the meaning will change.

Stress also has the function of aggravating tone:

For example, "Night Walk":

"You say this is not in anger? Isn't this a limit? "

There are two "this is not" in this sentence. These two words have different accents and different tones. The second "this is not" is a little heavier than the first, because the first "this is not" is more or less a tone of discussion, and the feelings of emotion, dissatisfaction and dissatisfaction are not too heavy; The second "this is not" is completely affirmative, and the feelings and dissatisfaction are particularly heavy.

Stress also plays a special role in cross talk performance. In some sentences, in order to impress the audience, certain words or phrases are emphasized.

For example, there is a cross talk with this dialogue:

A: After burning the old one, the old lady bought a new one from the paper shop and walked back respectfully. She met a young man nearby. Who can't take care of young people when they meet old people?

B: Yes!

A: "Auntie, did you go shopping? Did you buy a Buddhist shrine? "

Isn't that a good word?

B: Ah!

A: The old lady won't listen! "Young people speak without rules. This is a Buddhist shrine. Can you say buy? I have to say please! "

B: Please!

A: "I don't understand, aunt. How much did you spend on this? "

"It's such a fucking thing, four thousand!"

In this dialogue, the word "buy" and the word "please" are repeatedly emphasized to express the old lady's devotion to the Buddha and impress the audience with her psychological state. Later, when asked about the amount of money, the old lady was distressed by the money and blurted out a sentence that was particularly rude to the Buddha: "This toy costs 4 thousand!" Back and forth, the old lady's superstition had such a strong irony that it caused the audience to laugh. If the audience is indifferent to the words "buy" and "please" in front, the irony behind will not happen.

What is said in daily life is also exquisite, but it is not as obvious as what the actor said on the stage. Mastering this skill and studying people's speech carefully will be of great help to cross talk.

To perform cross talk, it is not enough to have light and heavy tones, but also to master the "late, tight, pause and frustration" of speaking.

"Late and tight" is the speed of speaking, "pause and frustration" is the tone of speaking, and the so-called "late, tight, pause and frustration" refers to the rhythm of speaking.

If you want to make a sentence or a paragraph clear, you need to divide it into several paragraphs according to the meaning of the sentence, and there will be a pause between paragraphs, so as to make things clear.

For example, there is a passage in the joke "The Doctor", which describes the process of doctors operating on people:

"Assistant-knife-scissors-cotton wool-gauze. The younger brother picked up the knife, cut open his stomach and clamped it with tweezers. -find the cecum-cut off the rotten place-put it back-there can be no dirty blood-there will be pus-"

There is a short pause in this paragraph. On the one hand, actors should use this short pause to perform visually, and at the same time, they should also use this pause to show different procedures of surgery.

If you say angrily, "the assistant brings me the knife, scissors, cotton wool and gauze, my brother picks up the knife, cuts open his stomach and clamps it with tweezers." Find the cecum, cut off the rotten place and put it back ... "The actor can't play, and the audience can't understand it.

And "late, tight, pause, frustration" and the change of speech speed can make the audience pay attention to the following more important words.

For example, there is a joke in Drama Miscellaneous Talk:

"One said: ...

B said: What's the title of your thesis?

A said: it is the relationship between drama and water conservancy. "

If A doesn't pay attention to the speed of speech and the setbacks in language, the last sentence can't arouse the audience's laughter. This sentence must be said like this: "it is the relationship between drama and water conservancy." The audience will burst into laughter. Is this the reason why the juice is long? Because the pause after the word "yes" is to let the audience pay attention; The pause after the word "drama" is to arouse the audience's guess: "What does drama have to do with anything?" When A talked about "the relationship with water conservancy", the audience was completely unexpected and produced excellent results.

For example, there is another passage in "Drama Miscellaneous Talk":

A is only thirty-five years old this year, but he boasts that he has studied drama for more than fifty years. B asked him, "You are thirty-five years old, but you have studied drama for more than fifty years ..." A went on to say, "Ah! He spoke the word "ah" confidently, and blurted out "what he said" in a hesitant voice. The tense conversation suddenly eased here, prompting the audience to think about the reasons. Next, one paradoxically said, "This is almost!" Surprised the audience.

In short, it is very important for crosstalk performers to be "slow and frustrated". If crosstalk performers swallow their dates and don't "stop and be depressed", it will be difficult for the audience to understand and will not have a good artistic effect.

Although "late, tight, slow and frustrated" is very important, it doesn't mean that every sentence should be divided into the smallest units. Words will be word for word, which will make you fluent. Sometimes I deliberately don't stop where I should. For example, the last paragraph of The Doctor:

The doctor cut the patient's cecum with a knife. After the operation, he just sewed up the wound and remembered to throw the gauze into the patient's stomach. I don't know how to make the bed, but I don't know how to make the bed. "Take the thread apart and find the scissors, just now." You zip it, then throw it in, open it and take whatever you want! "

This passage says, "You can zip it up!" It should be a paragraph, but if you pause here, the audience will laugh and make you unable to hear the following words clearly. Even if you barely say it, it is easy to relax. Therefore, you must never give the audience any chance to think, say it in one breath and then make the audience laugh.

The tone of crosstalk should be changed, and it should be raised or lowered appropriately according to the situation and mood specified in the content. This is what we crosstalk performers usually call "high and low key".

"High and low key" is also a very important skill. Speaking regardless of pitch must be dull and tasteless. If a crosstalk performer speaks insipid, no one will listen to his crosstalk.

"High and low key" is mainly determined by the mental tension and relaxation of the characters and the change of inner rhythm. For example, if you are anxious, angry or quarreling, under normal circumstances, you are nervous, unstable in speech and naturally high in voice; On the other hand, lazy, tired and disappointed, generally speaking, the mood is relatively depressed, that is, lazy and listless, and the voice naturally drops.

For example, the above-mentioned example of breaking superstition:

The young man's lack of respect for the shrine caused the old lady's dissatisfaction. He rushed to the young man and asked how much the shrine was. The old lady thinks that the niche is very expensive, and she is particularly dissatisfied with the sale of the niche. She said: Sometimes it's a little scary to suddenly raise the tone in order to get the effect on the stage. "hey!" "Clear the field!" "whoops!" "me!" "Go!" "Look at Ben!" "compensate!" This is all wrong.

Just now, we talked about the "pressure", "being late, tight, abrupt, frustrated" and "keeping a low profile" of crosstalk performers. Now let's talk about tone.

Tone reflects the speaker's thoughts and feelings. People's spiritual activities are very rich and complicated, so the tone is ever-changing. Sometimes the speaker's emotions are expressed entirely through tone.

For example, "Night Walk" said that A rode a bike at night and there was no light, so he bought a paper lamp and walked. Someone shouted "Light! Lights! " At this time, B then asked, "Isn't it burning?" A said, "Yes! Even the sleeves are put on! " B said, "What do you think? Let's go with the cart! "

When B says, "What do you think?" This shows both his concern for A and a little resentment. "...？ Is the paper lantern on? Is this dangerous? What did I just say? Are you kidding me? "These are all from B's mind, and they are all contained in the words" What do you think ". And these meanings all depend on the tone of this sentence.

For example, in the joke of "The Doctor", Party A and Party B talked, and Party A said that cross talk can cure diseases. "There will be more crosstalk departments in the hospital in the future!" B said: "After that, every hospital will increase the cross talk department. Are there enough actors?" A said, "That can organize doctors and nurses, and … hold cross talk training classes."

Above, because A humorously said that cross talk can cure diseases, it led to some unsolvable problems. Although he was joking, he said seriously: "That can organize doctors and nurses, ... and hold cross talk training classes." When you say this sentence, you should think carefully and say something not very clever. The attitude of serious thinking is very incompatible with such an unwise way of saying it, which is ridiculous because it is incompatible. Some actors simply pursue jokes, regardless of content and tone. When they see a smile here, they emphasize it, which actually weakens the absurdity of this sentence.

Another example is "night tour". A said that the traffic police saw him leave and shouted to him, "Hey! Take the sidewalk, take the sidewalk! " "ah! Do I have a name? "

Because A thought it was rude to him, he said, "Hello!" Also learn the tone of the police, and then put "famous-have a surname-no wow?" Speak word by word, expressing dissatisfaction.

There are still a few words in "Night Tour": B suggested that A buy car lights, and A said, "Don't say that I have no money, and I won't buy it if I have money!" B said, "Yes! You have the money to repair the car! "

"yes! You have the money to repair the car! " This sentence literally has a positive meaning, but it is actually a satire and ridicule of A, so the tone of this sentence should be very witty.

It can be seen that crosstalk performers need to show different tones when speaking according to different contents and different emotions. Specific examples can be seen everywhere, so I won't list them one by one.

That's all I have to say about the speaking skills of crosstalk performers. These are all things that can be seen in daily life, and there are no secrets. However, if you really want to master these skills, it will not happen overnight. You must go through long-term exercise, and you must pay attention to observing and experiencing life anytime and anywhere.

Second, action.

The actions in cross talk performance are the assistance of language, which is different from the actions of drama actors.

The first important action of cross talk is "gesture". Many times, actors use gestures to express things that language cannot fully express.

For example, in Night Walking, A rode his bike too fast, and the car didn't brake and hit an old man. One hurried out of the car to make amends to the old man. "ah! Grandpa, what do you mean? Did I run into you? You see, there is an emergency at home. I'll ... I'll call a doctor for my father. I'm in a hurry to meet you, which will delay things even more! "

The central meaning of this passage is that after hitting a person, A tried to evade his responsibility and pre-emptively invented some reasons to gain the sympathy of the old man. So when you say this passage, according to your mood, gestures can be divided into three parts. In the first paragraph, when you speak, you make a fist with both hands, as if you were apologizing, pretending to be pathetic; In the second paragraph, I was very anxious when I spoke, and my hands were licking my heart, as if I had a lot to take out; In the third paragraph, bow your hands when you speak to show your supplication.

For example, there is a passage in Drama Miscellaneous Talk, in which A and B talk about the performance of Peking Opera.

A said, "What's the point of really eating? Really have four dishes and one soup, fried pork slices, braised sea cucumbers, and old students take off their beards and eat sea cucumbers. I am hoarse after eating, stop singing! "

A said that when the old man took off his beard and ate sea cucumber, he gestured as he spoke. Grab your ears with both hands and show your beard. A This action is a bit exaggerated, which left a deep impression on the audience, in order to help express the meaning that "Peking Opera can't really eat and drink on the stage".

It can be seen that gestures play an important role in performance. However, improper gestures or aimless actions will confuse the audience's sight and affect the language. Also need to pay attention to, when talking, gestures can't be too much, too big.

We should also pay attention to the state when performing cross talk, and the change of state can help the audience understand the content.

Usually performing cross talk, the actors are standing behind the "scene table". Under normal circumstances, the position of actors does not change much. In the past, some programs changed their performance status according to the needs of the content.

Personally, I think the change of actor's identity can be decided according to the needs of the content, so don't stick to the rules and be rigid. But don't move so as not to distract the audience.

Secondly, we need to pay attention to the distance between "bang" and "tease". We should stand properly, away from the audience's inattention and hinder the performance. Moreover, the distance between "bang" and "tease" should not be too far apart, which is easy to distract the audience.

Third, the scenery and sight.

Setting a scene is a scene where people and stories are supposed to happen.

Because crosstalk performers have duality in performance, they can enter the plot to perform characters for a while and leave the plot for objective narration for a while. An actor has to describe many things and perform many roles. If he wants to make clear the position, environment and activities of the characters at that time, it is very important to set the scene in advance.

For example, the example mentioned above.

A: After burning the old one, the old lady bought a new one from the paper shop and walked back respectfully. I met a young man nearby. Who can't take care of young people when they meet old people?

A: "Auntie, did you go shopping? Did you buy a Buddhist shrine? " -This is what the young man said. '

"Isn't that a good word?" Narrator.

A: The old lady won't listen! Narrator.

"Young people talk without rules, this is a niche, can you say buy? I have to say please! " -The old lady.

A: "I don't understand, aunt. How much did you spend on this? " Young man.

"Cough! It's such a fucking thing, four thousand! " -The old lady.

In the above dialogue, three characters appear at the same time: a narrator, a young man and an old lady. If we make clear the identities of these three characters, we need to "set the scene" to design the performance position of the characters. I am used to putting the narrator's position in the middle, the old lady's position in front of the narrator's left, and the young man's position in front of the narrator's right. In this way, the young man and the old lady can talk to each other, the narrator can go in and out of the performance, and the audience can see it clearly.

Secondly, crosstalk performers express the change of performance position through the change of sight. The so-called line of sight is that the actor focuses all his attention on an object. When playing the young man, A should look to the left to show that he is talking to the old lady. When you play the old lady, look to the right to show that the old lady is talking to the young man. As a narrator, A should look forward when telling a story. In this way, the actor's position does not need to be moved greatly, and the characters in the above dialogue can be performed clearly.

For example, in Nocturnal Walking, A rides a bicycle to chase a car, and the car suddenly stops, and A's bicycle hits the car.

A said: the driver is reasonable-the commentator. He said, "Who told you to hit my car!" Driver.

A said: As soon as we shouted, the police came-narrator.

"What's the matter? What's wrong? " -Police.

I said, "Look, he hit my car!" " -answer.

"Did you go by car? Is it behind the car? " -Police.

I said, "I'm ... walking in the car." -answer.

"You go in the car! How did he break your front wheel? " -Police.

"Ah ... yes, ... then who knows how he hit it? Ask him. " -answer.

A said: the police said: "don't ask others, I have seen it all!" How do you think this problem can be solved? " -Police.

"That how to solve? ..... male ... I'll just fix the car myself! " -answer.

In the above dialogue, four characters appear at the same time: one is the narrator, one is the driver, one is the policeman, and the other is A. There is also a car and a bicycle at the scene. When performing, actors should fully explain the environment, places, events and people. It's not enough just to cope with the changes in the left and right eyes. So we design the current situation and the position of the characters as follows: the car is on the right side of A, the driver is on the left side of A, and the police are running from the opposite side. Assuming that the police are taller than A, the driver can talk to A from different directions. The dialogue between the police and A can be handled from different angles, so that not only the positions of the characters are not easily confused with each other, but also it makes sense for the police to bow their heads. As soon as A looks up, he is tongue-tied (showing his face to the audience), which is also convenient for depicting the characters.

Fourth, expression

This paper introduces the words and actions of cross talk performance, and now talk about expressions. We crosstalk performers usually refer to expressions as "gods" and "images".

When crosstalk performers say crosstalk, besides speaking and making some gestures, "spirit" and "image" are also very important issues. Whether a cross talk performance is vivid or not, "spirit" and "image" play an important role If a crosstalk performer has no feelings about the stimulation from the surrounding things, and whatever he expresses is a look and a look, then the actor will inevitably recite his lines lifelessly. The usual habit is to call such an actor's performance "slapping his face".

Just give an example, such as "Night Tour" and "Doby". A chased his shoes and walked back, instead of queuing in order to get on the bus first, he took another way to deal with people:

A said to the passengers in line, "Comrade! Are you waiting for the bus here? Fortunately, the first one. Because you're early. But I'm not late. You should get in the car first. I chased shoes just now. Let me go first when the bus comes. "

It can be seen that this conversation of A is actually a conversation with passengers. A gradually tries to deal with passengers according to their different attitudes. The passenger first saw the embarrassment of chasing shoes, and then he encountered a sudden "sale". After listening to A's "purpose explanation", the passengers couldn't help but be furious and said angrily, "Go back!" Therefore, during the performance, "funny" should first express not only A's mentality and emotions at that time, but also the passengers' emotions from A's "spirit" and "image". Secondly, "Funny" quickly changed its performance position, from the first-person performance to the objective narrative: "Well, after I finished this, this comrade gave me a smile …" and then entered the drama performance "Walk Behind! This passage is "spirit" and "image". From relaxation to nervousness, if your face is stiff, there is no fun at all.

For example, in the previous example, it is inappropriate to talk about "especially the old lady's superstition" and "drinking". When you look under the stage, the audience will immediately notice. "Measures" to explain, until speechless. This is a natural expression according to the needs of the content. However, we are opposed to some actors deliberately looking for a stage, or "winking" to force the audience to respond.

This way of direct communication with the audience, if used skillfully and properly, will produce good results. If used improperly, it will have the opposite effect.