The gap between Jiang Kun and Guo Degang is obvious in their attitudes towards Shanghai-style cross talk. What are their respective attitudes?

Crosstalk is a traditional folk art program that originated in the late Qing Dynasty. According to professional research, it began with an idle folk artist named "Poverty is Not Afraid". If we count from that time, it has a history of more than a hundred years. When it comes to the traditional folk art of cross talk, the most basic form of performance is the four basic skills of "talking, learning and singing". Of course, in the words of Deyun class leader Guo Degang, if broken down, there may be as many as a dozen subjects.

The gap between Jiang Kun and Guo Degang is obvious in their attitude towards Shanghai style cross talk

Guo Degang completely disagrees with Jiang Kun’s belief that Jin Yan and Ma Chunran are the orthodox representatives of Shanghai style cross talk. This can be seen from his comments on Zhang Yu and Huo Xingchen. Zhang Yu and Huo Xingchen's master is Gao Hecai, and Gao Hecai's master is Guo Degang, so the two of them can be regarded as Lao Guo's disciples.

When the program team introduced young crosstalk actors Zhang Yu and Huo Xingchen as representatives of Shanghai style crosstalk, Guo Degang expressed his views bluntly. What does Shanghai style mean? These two have great meanings. China has Shanghai-style painters and Shanghai-style Peking Opera, but there is no Shanghai-style cross talk. There was cross talk in Beijing during the Qing Dynasty, and it developed and expanded for a time, but there was no Beijing style cross talk. It makes people laugh to insist on Shanghai style cross talk.

Today’s cross talk in Shanghai has not formed a stable art form and style. If every actor named his performance after a place name, wouldn’t the entire industry be in chaos? Perhaps after decades, or even hundreds of years of continuous inheritance and development, a new concept will truly take shape.

Practicing traditional cross talk well is the basic requirement to become a qualified cross talk actor

However, in the Chinese cross talk circle, there is such a cross talk actor, but he still doesn’t know how to speak traditional cross talk. , he is the famous cross talk actor Jiang Kun. As for Mr. Jiang Kun's inability to speak traditional cross talk, we have to talk about a special life experience when he was young.

Jiang Kun, who was born in 1950, had just graduated from junior high school in the early 1960s and was forced to work as an educated youth in Beidahuang, Heilongjiang, Northeast China. At that time, she had no idea what cross talk was. Let alone understand cross talk and be able to speak cross talk.

So what was the opportunity for Jiang Kun to be connected with cross talk? This is also thanks to the close disciple Shi Shengjie of the famous cross talk master Mr. Hou Baolin. It turned out that Jiang Kun was lucky enough to get acquainted with Shi Shengjie, the son of cross talk artist Shi Shiyuan, in the place where he went to the countryside. The two were similar in age and had similar interests. They all love traditional folk arts very much. In addition, the two of them lived in the same dormitory and had the same hobbies, so the two gradually became good friends who talked about everything.

The difference between Jiang Kun and Guo Degang

Jiang Kun's lack of traditional cross talk knowledge happens to be the advantage of another famous cross talk actor, this person is Guo Degang. Born in Tianjin, the hometown of traditional folk art and the "crosstalk nest", Guo Degang has also loved folk art since he was a child. He learned crosstalk from famous crosstalk masters at the age of 7 and has very solid basic skills. Later, he successively learned storytelling, Hebei Bangzi, Peking Opera and other arts to further enrich his skills. He has mastered the basic skills of performing cross talk. In addition, Guo Degang is a cross talk actor who is particularly persistent, diligent and loves innovation. These have laid the foundation for his future fame and popularity.

Of course, Jiang Kun has also made a great contribution to the innovation of cross talk. For example, "Reverage in the Tiger's Mouth" co-written by him and Dai Zhicheng is a good cross talk with a very contemporary feel. As for the difference between him and Guo Degang, it may be mainly in traditional cross talk, what do you think?