The double spring of bing Qizhi used to be very prosperous. Why can't this form of performance be seen in the new phonograph world now?

Because of Shuang Huang, I think we need very good scripts and actors to play him well. Now that the cross talk is going downhill, it is difficult to find better material, which is what we usually call a stalk. Therefore, many crosstalk performers are unwilling to challenge this kind of performance, which may make their reputation plummet.

Double reed is a strange way of cross talk performance. He needs someone to talk behind his back, and he needs someone to lip-synch with the people behind him. So there are many difficulties in this way of performance.

First, there should be a particularly good story or comedy material, because we see a lot of cross talk now, and it is difficult for two people to have a comedy effect, just because their scripts are too mediocre to surprise the audience. If a story is told by one person, it is even more necessary to have a story that can attract everyone.

Second, Shuang Huang is not just a person telling a story, the person in front of you is lip-synching. If the person behind is particularly vivid, but the person in front is very different from the person behind, then this double spring is undoubtedly a failure. Therefore, the double spring needs two people to cooperate with each other in a special tacit understanding, and the technology is particularly profound to play well.

Qi Zhi and Bing Bing used to cooperate in many double spring games, such as washing feet and playing mahjong, which are all familiar works. These works all grasped the social phenomenon at that time and showed it through artistic expression. Coupled with the tacit cooperation between Qizhi and the soldiers, so many classic double springs have been achieved.

Since Qi Zhi and the soldiers parted ways, it is difficult to have such a high degree of tacit understanding, so few people try to perform the double spring.