Degang Guo once said that the ultimate goal of cross talk is culture. This is no problem, because academic qualifications do not represent cultural level. In the past, many actors with low education were very good at crosstalk. But on the other hand, if the practitioners in the performance industry are generally people with low academic qualifications, is there a problem?
Meng, a sesame seed cake, doesn't know traditional Chinese characters. In the program "Deyun Society Fighting and Laughing Society", the actors searched for lanterns in each room and finally worked out the words in the class rules. It can be seen that the cultural level of some actors is really a problem, and they don't even know words.
The traditional word "extermination" is seen on the lanterns of sesame cakes, which is the "extermination" of "bullying teachers and destroying ancestors" in class rules. He actually pronounced it "decrease"; Meng went to Shang Jiuxi's room to find the word "Taiwan", which means "bring wine to the stage". The lantern was clearly placed in the most obvious position, but he didn't recognize it. It wasn't until Shang Jiuxi handed him the lantern that he didn't realize it was the word "Taiwan".
In addition, at the beginning of the program, when Shang introduced the rules of the game, she said that time would bite back. I don't know if others understand. Anyway, Meng asked the question on the spot, "What is self-biting?"
Of course, we can't say that these words don't know or understand the meaning, which means that their cultural literacy is poor, but we also have to say that low diplomas do have an impact on their cognition. What will happen if you create cross talk with such cultural quality?
The low level of education affects the cross talk creation of Deyun Society. In the "Story FM" blog, Yan Hexiang, an actor of Deyun Society, was interviewed, telling his career and expressing his views on Deyun Society and current crosstalk, including the actor's education.
In people's usual cognition, the diploma of Deyun Society crosstalk performers is relatively low, which is at least the current fact. Yan Hexiang doesn't like to hear that he is called "the actor with the highest education" in Deyun Society, because it shows that most people in the team don't have high education, and he even thinks it is a shame.
An industry always makes people talk about academic qualifications, indicating that the cultural level of industry practitioners needs to be improved. If it is a nanny's job, cleaning work is also possible, because the education level is not directly related to their success in this matter, and cross talk involves creation and expression, and the education level will inevitably have an impact.
Besides, it's not something you want to admit. In Yan Hexiang's view, the low academic level has a great influence on the development of cross talk in Deyun Society, and the most important thing is creation.
Because actors don't read more and master more, they can't create better works, and they can only perform outdated traditional crosstalk repeatedly. Traditional crosstalk reflects the past times, but they can't create new crosstalk works that are close to the present. There is no new work, only the basic skills can be emphasized repeatedly. Basic skills are not worthless, but if we simply emphasize basic skills without paying attention to creating new works, the road of cross talk will only get narrower and narrower.
Crosstalk performers should not give up their creation. Some people will say, then why are these young actors still so popular, even more popular than Degang Guo? This is not the success of their performances and works, but the success of the actors' external image communication under the promotion of communication technology in the new era. If the crosstalk performers who were more creative and performed better in those days also met such conditions, they would be more popular than before.
Actors' creative ability was poor, but now they are still popular without too much effort and polishing their works, and they have earned a lot of money, so they give up their creation more confidently. Most excellent crosstalk performers in history will never just perform on the stage. They are not only masters in performance, but also masters in creation, pushing themselves to success through new works.
Ma Ji, a cross talk master, wrote more than 300 works in his life. He attached great importance to the creation of cross talk and emphasized that cross talk actors should "cook by themselves", otherwise it would be difficult to succeed. If crosstalk performers have shortcomings in their own creation, they will try their best to find creative crosstalk writers, enhance the literariness and diversity of crosstalk, and achieve success through complementary editing and performance. For example, crosstalk writer Liang Zuo is to Jiang Kun, Wang Ming is to Gao Yingpei, and Lian Chunming is to Li Jindou.
At present, Deyun Society has not set up a special creative team and lacks external brain assistance. The works performed by young actors on the stage are all based on their own feelings, and they don't pay attention to the text, let alone the literariness. The content is either traditional jokes or teasing each other, and it is unlikely to leave a boutique.
It is a great pity that we should not be satisfied with the cross talk of rice circle culture, which is the most appropriate and reflective literary form of the times, but it has fallen far behind the times and the audience's cognition. It may be irresistible, or even the embodiment of equal rights between men and women, but actors should not lose their way and be satisfied with the cheers of the audience, but should raise their requirements for works and performances and attract the audience with works of art rather than just external images. Actors need to lead the audience forward, instead of being led by the audience, they can only go further and further.
Many people have heard of Yan Hexiang's ballad The Death of Liu Hanchen. On the surface, it happened during the Republic of China and has nothing to do with today. In fact, Yan Hexiang "entrained" a lot of his own views on rice circle culture in his performance, and put all his thoughts and thoughts into it for many years.
It is hard to imagine what this work would look like if it were performed by other young actors besides him, and whether it could capture the audience only by content and performance.
It is not that the lower the education, the better the crosstalk. The cross talk industry has certain particularity. It is not that the higher the education, the better the performance. There are many actors with low academic qualifications and good acting skills. But young actors must not see this and fall into the myth that the lower their education, the better their crosstalk. A long time ago, crosstalk performers were forced to have low academic qualifications, but now the academic level of the whole society has improved, and the crosstalk industry has no choice but to stay out of it.
As the dominant crosstalk club in China today, Deyun Society should have more people like Yan Hexiang who are prepared for danger in times of peace. The sooner they see the false prosperity of the phonograph world, the easier it is for them to jump out of it and break themselves and move on. Otherwise, a team can easily become stagnant water that looks like a pool of living water.
Young crosstalk performers can pay attention to the current situation of talk show actors, underestimate the aura of idols, keep their sensitivity and insight into life and society on the basis of expanding their cognition, keep their works and performances close to the times, close to the audience, show off less skills and express more on the stage, so as to make themselves alive.