Why do we talk about learning to sing and count cross talk?

Crosstalk originated in Beijing. The first generation artist Zhang Sanlu was originally an octagonal drum artist. The octagonal drum in the whole hall has eight skills: "speaking, learning, teasing, singing, playing, playing and playing." Zhang Sanlu switched to cross talk, specializing in the four skills of "speaking, learning and singing". He accepted Zhu Shaowen, A Yantao, Shen Chun and his three disciples and passed down the three schools of cross talk art. During the Tongzhi period of the Qing Dynasty, cross talk artist Mrs. Zhang performed in Shengjing. His origin is unknown. This Mrs. Zhang may be the same person as the octagonal drum artist Zhang Tai. Like Zhang Sanlu from Beijing, he both sings octagonal drums and talks about cross talk. During the Guangxu period, Fan Youyuan and Zhu Tianrui, the successors of the Zhu School, came to Shengjing. Fan Youyuan, whose real name is Fan Changli, also known as Fan Liuye, is a third-generation crosstalk artist in Beijing. In Shengjing, he accepted disciples Zhu Fengshan (stage name "Renren Le") and Ma Liangchen (nicknamed "Ma Yidao"). Zhu Tianrui accepted Fan Tianjing as his disciple, and from then on, crosstalk blossomed in Shengjing.

The traditional cross talk "Selling Cloth Head" performed by contemporary veteran artists Luo Rongshou and Gao Fengshan

The description of "cross talk" in "The Chronicle of the Capital" is:

Yes Mrs. Zhang, talk about cross talk.

It makes people happy and has a sharp tongue.

Think carefully when making an appointment.

Taking eloquence is a way to make a living.

Here, "Yuebo words" are Northeastern dialect, which means words that choke or choke people. "Liukou" is a coherent flow of Guankou and rhyme.

Crosstalk has three performance forms: stand-up comedy, dialogue comedy, and group comedy. Stand-up comedy is similar to commentaries, but contains many jokes. The repertoire includes "Antique King", "Yue Ming Lou", "Ma Shou is Born", etc.; two people perform stand-up comedy, A is "funny", B is "peng 叏", also It's called "measured work". Traditional repertoire is divided into four categories: speaking, learning, teasing and singing. Most of the programs mentioned are based on folk jokes, such as "Wax Skewer", "Fake Connoisseur" and so on. There are also "Guankou works" such as "Eight Screens" and "You Miao Zi", and "Wen Ke" such as "Wai Biao Three Kingdoms", "Teaching the Four Books" and "Wai Talking about the Three Character Classic". The programs to learn include "Learning the Four Provinces", "Learning the Four Phrases" and "Learning Manchu", which are designed to imitate local dialects and various characters, and there are also "cowardly crosstalk" that specifically mock certain people, such as "The Cowardly Follower", "The Cowardly Shave" and " "Fools learn to behave" etc. Funny programs include "Five Red Pictures", "Astronomy" and other A-B debate style "Zi Mu Ke". The singing program was originally about singing Taiping lyrics, and later evolved into "Liu Huo'er" who learned to sing various folk arts and operas, such as "Learning Dagu", "Learning Bangzi", etc.; "Leave Cao" and other "leg jobs" for live performances. There are two types of crosstalk, also called "group work". One is a small comedy program, such as "Training the Disciple", "The Grand Trial of False Confessions", etc.; the other is a poem-reply program, such as "Double Word Meaning", "Diamond Legs", etc. Group crosstalk is mostly performed by three people. In addition to "Dou Ke" and "Peng Ke", there is another person named "Niannian".

The cross talk artist calls the track "work". There is a program called "Work Together". In artist lingo, the cross talk industry is called "Tuanchun". In the early years, he performed performances behind the curtain, learned dialects, and had ventriloquism called "Dark Spring". Later, he performed performances on the ground and performed in front of the audience called "Mingchun" or "Laomingdi". Crosstalk artists are all versatile, and there is a saying that "everything returns to spring". They also perform oboe, Taiping lyrics, small singing, etc.

The double reed was formed in the middle of the Qing Dynasty. It was originally a form performed by folk artists in the "octagonal drum for the whole hall". It was originally called "double learning and one person". The earliest known double act artist is Huang Fuchen. It was mentioned in the "Hundred Books" double-acted banknotes in the late Qing Dynasty: "We learned from the late businessman Huang Fuchen." The twenty-third part of "Liu Gong'an", a piece of music written by Che Wangfu in the early Jiaqing period of the Qing Dynasty, was written by Xuanwumen at that time. As for the performing arts activities in the Xidan area, there is a lyrics such as "The third stage is "Shi Gongan". This person is very famous in Kyoto. His real surname is Huang, and his name is Huang Lao, and the word 'Fuchen' is what everyone calls him." It can be seen from this that Huang Fuchen is the He performed in Beijing from the end of Qianlong's reign to the beginning of Jiaqing's reign. "Meibian Miscellaneous Memories" said that Huang "had a strange and ugly face. He was also a storyteller at first, and one person could learn the movements of various characters, so he was named Shuanghuang. Later, he was divided into two people and became one person." According to this, some people It is believed that Huang Fuchen is the founder of Shuanghuang, that is, the one-person founder theory.

It is also said that "double reed was founded by Beijing fancier Huang Kunzhong, so it is called double reed. His specialty lies in the front rather than the back, and he is more gesticulating than performing good or bad work." This is the founder of the two brothers.

There is also a theory that Huang Fuchen is not a fan, but a storytelling artist who is good at telling "Water Margin". The double act was created by him and his nephew Huang Hefei, that is, the uncle and nephew are the founders of the theory. Artists often say: "The front face is about hair and appearance (performance), and the back face is about talking, learning, teasing, singing and playing." It makes the audience look like a person is playing, singing and performing, so there was a " You should learn from Huang Fuchen's saying that "double reeds are like one person". When he first emerged, he mainly learned to sing. He played the three-stringed instrument with his back face and sang excerpts from the song "Lotus Flower Falling" or some small songs. The oboe relies on learning, crooked learning, deliberately showing flaws and making mistakes to make people laugh. Because it is good at making jokes, many crosstalk actors started to learn acting after the early years of the Republic of China.

It is also said that during the Guangxu period, there was a "Pihuang" (Peking Opera) artist in Beijing who was too old to sing. Someone invited him to a "singing hall", so he had to perform at the front stage. , sung by his disciples in the background, hence the name "double act". Later, he was picked up by crosstalk artists and learned to sing various operas, timely tunes, etc., which became quite popular. Later, "back face" was often used without strings, and then the element of talk was enhanced. At the same time, the word "黄" was changed to the word "huang", which was full of tongue and tongue, and gradually some people mistakenly thought that double reed was a type of cross talk. Due to the short repertoire of oboe, two or three recitals are usually performed continuously during each performance. The performance reaches a climax at the end. Sometimes they learn to perform Yangko, sometimes they learn to sing miscellaneous songs, sometimes they learn to dance, and it ends abruptly amidst the hearty laughter of the audience.

Little songs are funny little songs sung by cross talk artists at the beginning of the show, including "A Nest of Blacks", "Cross Brocade", "Riddle Song", "Drinking, Sex and Fortune" and other tracks.

Taiping lyrics are sung by the artist's hand on two small bamboo boards (called Yuzi boards, also called Yuci boards), which are similar to short drum lyrics. The songs include "Split the Mountain to Save the Mother", "Han Xin's Fortune Telling" and "Five "The Pig Saves the Mother", "Fighting the Yellow Lady", etc. Some artists use white sand to sprinkle words on blue cloth while performing. The words they write include "recruit wealth and treasure", "more than every year" and ten numbers. Sometimes one person sings and the other interrupts or learns to sing, "making jokes". Crosstalk is mostly known for its satire. For example, it is said in "Yi Zi Yi Xiang" that the character "一" is like a rolling pin. He served as a patrolman and rolled dough on the chopping board. He was dismissed from office because of his kindness and softness; the character "二" is also mentioned. Like a pair of chopsticks, he was a general who was a cleansing general, but he was dismissed from his position because he was fond of hugging; he said the word "er" like a dung fork, he was a dianshi (pointing out shit), and he was dismissed from his position because of his embezzlement. This cross talk may seem like a play on words, but it actually uses the topic to make fun of corrupt officials. There is also a section of "Talking about the Emperor's Title", which talks about the names of the ten emperors in Beijing in the Qing Dynasty. They are all "wrong". Artists have a saying that "if the reason is not crooked, they will not laugh." The general idea of ??this cross talk is as follows:

"Shunzhi" means that he hopes that the people will be obedient so that he can rule easily.

"Kangxi" must be pronounced with small words, like a big radish, which is good on the outside but has a "grainy heart" on the inside.

"Yongzheng" was called "Yongzheng" because he sat crookedly on the day he ascended the throne, and everyone gathered around him and straightened him up again.

"Qianlong" was a rich emperor who was also deaf, so he was called "Qian Deaf".

"Jiaqing" refers to when he was the prince, he once visited the temple and saw an ancient bronze chime. He took it away, so he called it "Jiaqing" after he became emperor.

"Daoguang" means that wherever he goes, everything becomes light, which is called "reaching the light".

"Xianfeng" means that he can't sit idle and goes crazy when he is idle, which is called "Xianfeng".

"Tongzhi" means that he has no idea, and he has to discuss things with his ministers. This is called "Tongzhi".

"Guangxu" means that when it was passed here, the oil in the oil lamp was almost burned out, so more oil was added, which was called "Guangxu". "Xuantong" means that the last emperor was like a barrel hanging in the air. If someone poked it with a stick, it would fall down, so it was called "Xuantong". This crosstalk occurred in the early years of the Republic of China. It reflected the revolutionary ideas of abolishing the imperial system and advocating democracy and peace, and was widely circulated.

In the early years of the Republic of China, Zhu Tianrui, Zhu Fengshan, Cui Baoxiang and others were among the crosstalk artists who left the "Ximen Face" in Shenyang.

In 1923, there was a crosstalk venue in the Xingyuan Garden shed of Fengtian No. 1 Shopping Mall. The crosstalk artists who performed here included Zhu Fengshan, He Yuqing, Bai Tremella, Li Yongchun, Bai Wanming and others.

Geng Fool specializes in "cowardly cross talk", such as "Visiting the West Lake" and "Silly Guy" and other programs. When Xi Xingsheng and Bai Wanming were talking about "Watching Foreign Movies" together, they hit their foreheads with a sweeping broom, making a cracking sound. Later, they hit their heads with a fan instead. In the late 1930s, some crosstalk artists had already entered the teahouse. After the victory of the Anti-Japanese War in 1945, cross talk was performed at Xiangyun Pavilion in Xiaoximen, Shenyang, Guangming Teahouse in Shitou City, and Gongyu Teahouse in Muxing Hutong, Zhongjie. Crosstalk artists at that time included Yu Chunming, Zhang Qingsen, Liu Bokui, Cui Yaxuan, Wang Futian and others. In addition, Chang Lian'an, Chang Baolin (stage name "Er Mushroom"), Ma Sanli, Guo Rongqi, etc. from Tianjin all came to Shenyang to perform in the 1930s. When Hou Baolin came to Shenyang to perform in 1939, he was called "the famous comic master in Beijing and Tianjin" by the "Shengjing Times" at that time.