Ma's crosstalk is always rambling. Why do so many people still like to listen?

Usually speaking of crosstalk masters, ordinary people will think of Hou and Ma; When it comes to crosstalk masters, there is only one candidate, and that is Ma.

Arguably, as far as the status of crosstalk performers after the founding of the People's Republic of China is concerned, including artistic status and comprehensive status, although Ma is older than Hou, he is usually in Tianjin, not as good as Hou who has lived in Beijing for a long time. However, in the eyes of many audiences, Ma represents a street culture that is closer to the street. His cross talk works are more about ordinary people, so he also thinks that the image of Ma is more accessible.

Judging from the folk image, it is not as good as a horse. There are many cross talk works by Ma about ordinary people, and most of them are performed in the first person, which makes the characters on the stage look like themselves but not like themselves, making people feel better. As far as talent and acting are concerned, Ma may not be as good as Hou, but he is more worthy of love in the eyes of ordinary people.

Three career stages

Ma's performance is divided into three important parts, one is traditional cross talk, the other is new cross talk, and the other is stand-up cross talk next year.

Ma has written and performed more than 200 traditional cross talks, many of which have become classics after his performance, including Article Meeting, Opening a porridge factory and Kua Mansion. After the founding of New China, Ma played many works in the new era, including Buy a Monkey, Meet the Fans, and Start at Ten o'clock. Among them, Ma Daha, played by Ma, became a typical figure in the history of comedy in China.

But in his later years, Ma usually performed alone on the stage, and put most of his energy into the creation of stand-up comedy and jokes. A short clip like "I'm teasing you" is small, but it sounds interesting.

Unique playing beat

From this, we can see that Ma has performed a few cross talks, and he sometimes learns to sing a few Beijing operas, but this is quite different from his singing. He often uses infiltration in his plays, such as Opening a Porridge Factory and Crossing the Courtyard, but he is not good at speaking fast, at least Li Boxiang's mouth is not neat enough.

In other words, Ma's performance is actually short-board, not as comprehensive as Hou and others, but his kung fu and charm of teasing are beyond the reach of ordinary crosstalk actors.

Ma's performance is very plain and close to the audience, and he speaks eloquently, like a Syrian family. Besides saying, Ma also pays special attention to expression changes and body movements, integrates his own personalized play, satirizes the common human nature problems of ordinary citizens in a self-deprecating way, but at the same time reveals some love.

Many viewers may be deeply impressed by Ma's acting skills, that is, his acting skills don't seem to have accurate words, and he seems to be unprepared for a word. Actually, it's not like this. Ma Lisan is very particular about acting lines. Even if he stutters repeatedly, he only speaks after thinking clearly in advance. This is his unique playing rhythm, especially when he is old. Some people want to learn from him, but they have only learned a little.

Crosstalk is not awkward.

Crosstalk is, to a great extent, the art of beating time. Ma paid great attention to the beat, leaving too many classic works.

Ma's art and artistic morality are exemplary, and he attaches great importance to the artistry of cross talk. He once said that cross talk is not a complete joke, let alone an embarrassment. Actors should have their own artistic pursuits.