What are the fallacies in Degang Guo's crosstalk?

Degang Guo has always been the most indignant, duplicitous and devious about "making money across borders".

Crosstalk has a low threshold, so many amateurs come in ignorant. According to his statistics, chefs turn to cross talk the most, and they can go on stage to say cross talk in their coats.

Since Lao Guo hates cross talk with the chef so much, how did he get into his group of disciples who became monks halfway?

Li Hebiao, a famous chef, Zhang Helun, a barbecue chef, and Yun-peng Yue, a waiter in a restaurant, were also praised as big stars by him. They have no childlike innocence and poor foundation. Apart from Yun-peng Yue's efforts to gain recognition from the market and some peers the day after tomorrow, Li Hebiao's cross talk today is not so good. Although Zhang Helun is very popular, he appears on camera by sprinkling dog blood. From the perspective of crosstalk, his performance was a complete mess.

Most actors in He Zi University of Science and Technology are like this. Although they are also popular, they all became monks halfway, and they were not expelled by Mr. Guo in the name of despising cross talk. It seems that Mr. Guo's view of opposing layman's ignorance is limited to the stage outside Deyun Society. If he joins Deyun Society, let alone become a cook, he will still accept it even if the animals become refined.

Amateurs say that cross talk is no good. Mr. Guo naturally wants to make money in other fields, and he also looks down on other industries. When he opens his mouth, he wishes he could not set foot on eighteen levels of hell.

Sketch is the simplest. Just put the beard on the prop and act it out. Crosstalk is a non-physical performance, and it is the most difficult to describe it with a mouth. This is a typical layman's fallacy. The sketch has scenes, but it needs actors to perform more. Actors need to rehearse for a long time to form a very high degree of tacit understanding to shape the role and promote the plot. Props and scenes can not be incremental performances, but will become elements that interfere with the audience's concentration and create extra focus on the stage, especially when the actors are not fully prepared for the performance.

Crosstalk can only be described by two people's mouths. At this time, the audience has only one stage focus, and all the attention follows the actor's mouth. Because the actor's language forms an imaginary space, if the actor has no time in his mouth, then the audience will go on stage directly.

The difference between the two is like a novel and a TV series. Novels are all described in words, and readers will have different understandings of words and form different reading feelings. The TV series transforms all the written descriptions into intuitive pictures, which is a process of interpretation and re-creation. We can't simply say that novels are the most difficult, and TV plays are extremely simple, because there is a saying that everyone can do well in the later stage with scenes and dubbing.

In fact, Degang Guo tried to play Zhao Benshan's sketch in the variety show, but the effect was that he couldn't get into the role. Even though Degang Guo put on makeup and arranged the scene, he also played a sketch in the form of cross talk, with funny mouth and lines, and the whole rhythm was a mess.

This problem is the same in his film and television works. Degang Guo's TV series and movies like to use crosstalk-style baggage and directly transform it into focus plane, but there is no professional treatment when translating verbal humor into shots, so most paragraphs in Degang Guo's movies are very embarrassing, which is the reason.

To put it bluntly, Lao Guo is used to telling jokes orally, but when he presents this humor in a three-dimensional way, he can't handle it professionally, so the audience feels that it looks like a burden here, but it's not funny at all.

The Nineteenth Generation Ancestors directed by Degang Guo is an example. To show that Yun-peng Yue has a big appetite, he only ate a big bowl of food.

However, from the perspective of film comedy, this treatment is a failure. The reason for comedy is "unreasonable" and "unconventional", while a fat man in Yun-peng Yue has a good appetite. The only joke that the audience can catch in this picture is "that bowl is so big", but this comedy element is very weak and superficial.

A real movie comedy, with the same meal as the scene, should be an element in Stephen Chow's movies. A small bowl contains more than N dishes, which is "unconventional" and has a better effect.

Therefore, Lao Guo's arrogance towards sketches, movies and TV series led to various rollovers after he crossed the line, but he still refused to admit that it was because the audience had problems, the script had problems, the film editing had problems and so on. He never accepts his incompetence, and it is unacceptable to make money across borders.

Of course, although the truth is crooked, if we regard these fallacies as cross talk performances, we will laugh them off. If we have to treat crosstalk performers as life mentors and crosstalk quotations as guiding lights, and only brag for a long time without thinking, it will be a hindrance to us and a shame to our compulsory education.