Take you to understand cross talk (2)

1.

Crosstalk terminology, referring to jokes, is a special artistic means to distinguish cross talk from other rap arts, and it is also a necessary element of cross talk. "Baggage" is an image description of crosstalk artists. The hero unconsciously opened the bag, put the paragraphs in one by one, and then secretly buttoned the bag. When the time was right, he suddenly untied the bag and shook off the joke. Crosstalk must have "baggage", but the more "baggage", the better. Should be arranged reasonably according to the needs of specific content, should be more than less, should be less than more, not less. The classification of "treasure" is very complicated. Jokes are not only acceptable to the universal values of human beings, but also understandable to specific people and classes. Just as there are endless ways of joking in life, it is difficult to juxtapose the "treasure" method on the same scale. In essence, it is generally to use the dislocation between the audience's psychological expectation and reality to produce jokes. According to the relationship between "Yu Bao" and the overall content of cross talk, it can be divided into "the knight in the flesh" which is directly related to the character or story, and "external flower arrangement" which is only used to render the comedy atmosphere but not directly related to the content. According to the location of luggage, it can be divided into "open bag luggage", "waist bag luggage" and "bottom bag luggage" According to the comic effect of Bao, it can be divided into Lei Zi (Dabao) and Xiao Yi (Xiaobao). According to the plot structure, "burden" can be divided into confusion, misunderstanding and coincidence; According to language skills, the "baggage" can be made from phonetics, semantics and grammar, resulting in different forms of "baggage" such as homophonic misinterpretation, circular adhesion, reverse order deconstruction and color shift, and various rhetorical formats such as metaphor, analogy, pun and metonymy can be put on exaggerated coats to produce "baggage"; According to the tone of "Bao", it can be divided into "Wen", "Fu", "Ethics" and "Meat Bao".

Shake luggage

The term crosstalk performance skill is a description of the image of crosstalk artists, which means that when the time is ripe, the actors suddenly perform jokes, just like suddenly opening a bag full of jokes and shaking it out. "Shaking the baggage" is the core skill in cross talk, and its success depends entirely on the actor's timing, including skills such as "making mistakes late".

3. Lei Zi

The word "burden" in cross talk is a kind of "burden" divided from the scene effect. Refers to the "burden" with strong comedy effect, also known as "big burden". Because this kind of "baggage" has the scene effect of landslide and thunder, the artist vividly calls it "Lei Zi".

4. A heavy burden

Namely "Lei Zi".

5. Small teeth

The word "burden" in cross talk is a kind of "burden" divided from the scene effect. Refers to the general effect of "luggage", also known as "small luggage". Because this kind of "baggage" has no strong function, it can only make people smile silently, so it is called "small teeth".

6. Small luggage

That is, "little teeth."

7. Open the door.

The word "burden" in cross talk is also called "top-door thick stick". It is a kind of "baggage" divided from its position in cross talk. A cross talk should take three "big bags" as the central backbone, and then organize some fragmentary "small bags" around them. The "big burden" is placed in the beginning, the middle and the end. "Cut to the chase" refers to the "big bag" at the beginning of cross talk, which means to cut to the chase, let "padding" attract the audience's interest like a magnet and hold up the facade like a thick stick. Because of the folk tradition, Tianjin Crosstalk attaches great importance to the effect of "opening the door", while some other areas even omit "opening the door" because of fixed words or ignoring padding words.

Step 8 become a burden

The word "burden" in cross talk is a kind of "burden" classified from its position in cross talk. A cross talk should take three "big bags" as the central backbone, and then organize some fragmentary "small bags" around them. The "big burden" is placed in the beginning, the middle and the end. "When there is a burden on the waist" refers to the "big burden" in the middle of cross talk, which is generally placed in the middle of "live" and may be accompanied by some beaded "small burdens".

9. Bottom luggage

The word "burden" in cross talk is a kind of "burden" classified from its position in cross talk. A cross talk should take three "big bags" as the central backbone, and then organize some fragmentary "small bags" around them. The "big burden" is placed in the beginning, the middle and the end. Generally speaking, the "bottom baggage" is the "bottom" of the whole cross talk. From the analysis of artistic conception, the whole crosstalk is just a "big burden". Both "top burden" and "waist burden" are used to pave the way and stabilize the atmosphere, and the final outcome depends on the key chess of "bottom burden". The "bottom baggage" is the final evaluation of the theme by the actor (or author), the ending of the character, the ending of the story and the "finishing touch" of the character. The whole crosstalk came to an abrupt end in Baggage at the Bottom, and the actors also ended all the performances in this climax.

10. Jue in the meat

It is a special term for the art of pingtan, which was later borrowed by the art of cross talk. It refers to a paragraph that is directly related to the content from the plot structure and character.

1 1. External flower arrangement

It is a special term for the art of pingtan, which was later borrowed by the art of cross talk. Refers to jokes that start with language interest and rhetorical devices and have little to do with the content.

12. Unity and Combination of "Beauty in Meat" and "Outside Flower Arrangement"

It refers to a joke with the double meanings of "laughing in the flesh" and "arranging flowers outside", which are unified and combined with each other.

13. Ethics

A "burden" divided by content. Refers to the "burden" of finding jokes from an ethical perspective (such as father/son, wife/son) in cross talk. In traditional cross talk, "ethical punch card" is used a lot, and even the whole program is around "ethical punch card" to find paragraphs, such as "turning over four generations" and "anti-seven mouths" In the early years of cross talk, apprentices often teach "ethics" programs first to test the language skills and scene grasping ability of actors. Practicing basic skills is a joke. Although the content style is not high, it has been criticized, but many details, such as training actors to master the language of cross talk, always grasping the accuracy of shaking the burden, the expression of actors and so on, are worthy of attention. At present, the reality of "ethics" is rather chaotic. On the one hand, due to the awakening of crosstalk performers themselves and the restriction of TV crosstalk censorship, the actors abandoned the "ethics" of low taste; On the other hand, the teahouse is full of "moral" performances. Some actors can handle the performance well, while others simply exchange cheap laughter for the vulgar taste of "deceiving others to call themselves dad". "Ethics" is actually to explore the wretched mentality of people's instinctive love taking advantage, with the color of market culture. This is an old joke of China. In ancient times with strict feudal hierarchy, these "ethics" that reversed ethical relations and used ethics were also a paradoxical resistance to reality.

14. Meat and luggage

Also known as "smelly baggage", it is a kind of "baggage" divided by content. Refers to the "burden" of finding vulgar jokes through direct description or indirect suggestion and rendering of eroticism and sexual behavior of men and women. There are many examples of this kind of "burden" in traditional cross talk. Many traditional cross talks have a "smelly bottom", that is, the end of "smelly baggage". In the abnormal society in the early stage of cross talk, some artists had to use the "obscene baggage" of low taste to attract audiences and ensure their economic income to make a living. At that time, the bottom crosstalk artists and ordinary audience did not have the cultivation of strictly separating pleasure from beauty, and often used super-stimulation for fun. With artists with a certain cultural background devoted to professional crosstalk performances, cultural taste was injected into the crosstalk content, forming a "mud door" and "clean door" crosstalk. With the cross talk performance coming into the room and the continuous improvement of the audience's cultural level, there are fewer "meat buns" in the variety garden. However, on the ground, in the community where ordinary people live together, the so-called "scratching the ball" technique has been frequently used by some people for many years, which shows that the change of the artistic interest of the whole people will be a long historical process of improving cultural literacy.

15. Black odor

It refers to a very obscure "smelly baggage".

16 homophonic

One of the types of "baggage". Refers to joking with homophones and homophones. For example, in True and False Mom, the name of the character "True Chede" is pronounced "True Virtue". In four provinces, "brother" homophones "fruit", "little nephew" homophones "chicken" and so on.

17. Pun

One of the types of "baggage". It means joking with a word that can mean two things at the same time. For example, the word "calculation" in "Contradiction" has double meanings of calculation and calculation (as) and is used for joking. When you say "I'm your father", it can be understood as counting the population, or as you are the father of a comedian, joking with puns.

18. exaggeration

One of the types of "baggage". It refers to joking with exaggerated descriptions. For example, "Hundred Strikes" mostly uses exaggerated jokes, "telling the dead to life" and "putting out the fire with cross talk".

coincide

One of the types of "baggage". It refers to making fun of the coincidence of the plot. For example, the stories in "Three consecutive championships" mostly use coincidental tricks to joke, such as "pretending to be a waterwheel official and sneaking into the city", "mistakenly thinking that Wei Zhongxian's cronies won the second place" and "cursing the nine-year-old couplets for being wrong".

20.chaos

One of the types of "baggage". It refers to the use of the dislocation between the audience's psychological expectation and reality to produce paragraphs, including language dislocation, action dislocation and so on. For example, when learning a foreign language, the audience expects A to speak a pure foreign language, but the foreign language A speaks is just a nondescript foreign language like "children learn to speak" or "telling the truth" like "Chinese characters with foreign flavor", which causes the gap between the audience's expectations and reality and produces a comedy effect. "Dislocation" in actions, such as "learning to dance", from imitating dancing to playing monkey tricks. Dislocation and contrast are sometimes mixed. For example, in the rule set, people and monkeys scratch in different ways, making contrast, highlighting contrast in comparison, and then demonstrating dislocation. Personification is also a dislocation. "The Secret Language of Mice" first compares people with mice, misplaces the events that happened on people to mice, personifies mice, and organizes jokes in dislocation. Such as "The Beauty of the Mouse", "The Mouse Bribes to the Cat with the Power of Life and Death" and so on. Another example is the "Rules", which compares the behaviors of men and women with extreme gender characteristics in feudal society, and then transposes them to make a joke.

2 1.live

The common name of crosstalk jokes in the phonological world. The word "live" has both the meaning of work and flexibility, and it is very flexible to describe cross talk jokes. In the process of crosstalk performance, actors can master it flexibly according to the audience's reaction and the actors' own choice.

22. jokes

That is, "live".

23. brochure

Ch m 4 I, a cross talk term, refers to comics. The actor made a second creation based on comics and put it on the stage.

24. Erect

The term crosstalk refers to changing the script of crosstalk from words to "phase" and "sound" (standing on the stage). The process of "reappearance" has its own image because of the actor's personality understanding and artistic level. It embodies the actor's second creation.

25.problems

Crosstalk terms refer to the backbone of cross talk stories. It propped up the whole crosstalk like a beam. "Liangzi" is more general and concise than "brochure".

26. Buffer words

Terminology of crosstalk structure. Opening remarks In the Tang Dynasty, "Popular Theory" sang an "oath" before the text began, with the purpose of rendering the atmosphere and attracting the audience. Song and Yuan Dynasties began with "painting". Before the script enters the formal story, reading a few poems or saying some off-topic gossip as an introduction is called "winning for the first time" or "laughing for the first time" The "cushion words" of cross talk also inherited this tradition. We should make artistic preparations for performing cross talk and keep close relationship with the audience. When an artist performs "off the ground", the audience is very mobile, and the performance begins, or the previous program ends and the next program begins. At this time, saying "cushion words" can attract and wait for the audience, attract the attention of the audience present, and create the necessary atmosphere and conditions for the performance of words. It not only plays the role of concentration and calming emotions, but also serves as a "stone detector" for actors to find out whether the venue is hot or cold and whether the audience likes it or not. According to the content relationship with the cross talk text, "pad talk" can be divided into two kinds: casual chat of "digression" and intentional foreshadowing of "talking to the point". During the performance period of crosstalk artists, "off-topic talk" is often used in "pad talk", and the content is improvised according to the situation, which has the characteristics of randomness, flexibility and variability. After the founding of the People's Republic of China, great changes have taken place in the content, form and performance conditions of cross talk, and the script is stable, so "pad talk" often uses more concise "topic words" to directly pave the way for organizing "baggage". Some new cross talks even come straight to the point, compressing or omitting "cushion words" For example, the "cushion talk" in front of "Buying a Monkey" comes straight to the point and says that he works in a "thousand goods company", paving the way for the whole story, and then he can tell his personal experience naturally. Whether it's "digression" or "getting to the point", we should introduce cross talk naturally and smoothly, arrange the content as much as possible, mobilize the audience's emotions, and test the audience's preferences according to different "burdens" in order to perform better. Some "cushion words" are enriched and polished by the performance time of crosstalk performers, and some can even write independently. Such as "Mo Wan", "Little Bargaining" and other short paragraphs, used to be only a stepping stone to cross talk. Another example is Essay Club, which used to be just a "cushion" for Bodyguard, and later became a complete cross talk program that can be performed independently. From this, we can also see the dialectical relationship between "empty talk" and "active life"

27. Spoon handle

Terminology of crosstalk structure. It is the transition between "pad talk" and "positive living", and it is called "scoop handle", which is similar to the undertaking part in story books and novels and the "opening topic" in variant texts. Crosstalk has its own "connection", and "scoop handle" is the key "connection" and an indispensable "bridge" between "cushion talk" and "positive life". It is often explained in a few words, which allows the audience to naturally enter the situation of the work and pave the way for "living". The requirement of cross talk for "gourd ladle" is natural and smooth, not abrupt and blunt. No matter whether the previous "pad words" are "digression words" or "topic words", we need to use simple washing to skillfully transition from "ladle" to "proper life" For example, from the "pad talk" in "Fair Talk" to "eight fan screens", I'd better make fun of it. I have three or two confidants, and I played a lantern riddle. I was making fun of it just now ... this is my spoon handle for "talking" and "living"

28. Live

Terminology of crosstalk structure. It's the text. This is the backbone of a cross talk, which is often composed of several "burdens". It is consistent with the "liveliness" of the scripts in Song and Yuan Dynasties, and also with the "Rap Classic" of Bianwen, which is the central theme of the works. The difference is that one wins by "baggage" and the other by moving the plot. The main body of crosstalk is the main basis for crosstalk to reflect life, portray characters, expose contradictions and embody themes. "Active life" is a process of deepening from outside to inside and expanding from here to there. It requires twists and turns from low to high, and often twists and turns, reaching a climax and preparing for the "bottom". In terms of narrative structure, China's literary and artistic works have always had the saying that "the head of a phoenix, the belly of a pig and the tail of a leopard". Alive, like Pork Belly, is full of twists and turns. It is a narrative with the most "baggage", the most concentrated plot and the most full emotion.

29.bottom

Terminology of crosstalk structure. Crosstalk is over. It is not only the last film of Alive, but also the climax of cross talk. Similar to the variants of "novel ending" and "text interpretation". The reason why crosstalk separates The Bottom from Positive Life and ranks with Random Talk and Positive Life is probably because of the exposure and critical characteristics of comedy art, which is different from the general narrative form in pursuing the ending of the story and the fate of the characters, and mainly emphasizes the attitude and evaluation of the author or actor on life. It is also because of paying attention to the performance effect that it can come to an abrupt end in the climax. The importance of "bottom" should be planned from the beginning of a cross talk creation idea, and all ups and downs and connections should be arranged with ideas to serve and ensure the effect of "bottom". Some paragraphs even have the "bottom" to have creative impulse and imagination. More important than any "baggage" and general jokes in "Living". Before the end of the cross talk performance, it is especially forbidden to "dig the bottom", try to reduce redundant narration, and the language should be concise and refined, or even give up the "burden" near the "bottom" to avoid distracting the audience and destroying the effect of the "bottom".

30. guaranteed bottom

That is to ensure the "bottom" effect. Because the bottom of crosstalk is generally the climax of crosstalk, in order to ensure the effect of climax, the whole program should serve the bottom. The previous content can't pretend to be the host. Try to reduce redundant narration near the end, refine the language, and even give up the "burden" near the "bottom" to avoid distracting the audience and destroying the "bottom" effect.

3 1. Bottom planing

"Planing" means leaking in advance. The artistic truth carefully designed by actors and authors is inadvertently hinted, metaphorically and refracted, which makes the audience expect, see through and reveal the truth of contradictions, that is, "digging the bottom". Or "blocking the bottom" because of improper layout, or "shaking the bottom" because of excessive tension and instability near the finish line, or "supporting the bottom" because of the shift of attention from the finish line and so on. They are all disguised manifestations of "digging the bottom".

32. Level the mat.

In terms of cross talk, "paving the way" means spreading out, that is, cleverly burying the seeds of contradictions. "Mat" is a gradual process of "three transgressions and four shakes". "foreshadowing" is similar to "foreshadowing" in literary works. It refers to burying the seeds of jokes in the audience's unconscious or seemingly conscious, and then repeatedly rendering and emphasizing the illusion of contradiction, so that the seeds of jokes can take root. Often, similar plots, the same language, actions, etc. Be repeatedly emphasized. When the audience is about to forget the truth, believe the illusion and come to the opposite conclusion, the actor suddenly reveals the truth, which is in sharp contrast with the illusion, resulting in an "unexpected and reasonable" burden. "Flat" means "natural and smooth, leaving no trace"; "Steady" means "clear and logical". Only "natural and smooth, leaving no trace" and "logical" are the true meaning of "paving stability".

33. Three transgressions and four vibrations

Terminology of crosstalk structure. It refers to the two links of "bedding" and "shaking off" and "baggage". The so-called "three transgressions and four shakes" does not mean that three transgressions have laid the groundwork and four shakes have been shaken off. "Three times" is an approximate number, and the paving can be more or less, which is limited to "paving steadily". The "four" in the "four shakes" is the fourth time in the sequence immediately after the third time in the "three times", which means the fourth time. Because "three times" can be more or less, in fact "four shakes" can be "two shakes", "three shakes" or even "five shakes". No matter how many times you shake it, according to the temperature, you must surprise the audience and arouse their laughter. "San Fan" refers to the rendering that emphasizes the illusion of contradiction, which brings the audience from the bottom to a completely different situation and tries to push the illusion to the top. Generally, one thing, even the same plot and sentence, is repeatedly emphasized and then turned sharply. The fourth "shake the burden"-"four shakes" is the time when the paragraph blooms and bears fruit. "Three transgressions and four earthquakes" are widely used in cross talk, ranging from a "burden" organization to the overall structure of a cross talk program, all following the basic principle of "three transgressions and four earthquakes".

go shopping

It refers to creating sufficient conditions for "shaking the burden", including arranging the atmosphere of rendering, creating the context of tips and so on. For example, the short cross talk "The Man in the Car", the explanation of scenes and characters are "paving the way".

35 pad

It refers to creating the necessary conditions for "shaking the burden", and "cushion" is more specific and plays a vital role. For example, in the comic dialogue "People in the Car", the line "shunting" seems irrelevant, but it is actually an important "cushion" for this comic dialogue. Without the explanation of this sentence, these people began to move the telephone poles as soon as the car arrived at the construction site, and the car did not reverse at all, so the voice prompt when reversing could not happen, and there would be no misunderstanding that migrant workers mistakenly took the voice prompt as the last woman in the car. The "baggage" behind "Please pay attention to reversing" is illogical.

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