On Ni Ming of Ni Ming

Reflection on Current Crosstalk from Grassroots Phenomenon

The word "grassroots" is also popular in the field of Quyi, because so many "grassroots" phenomena related to Quyi have to be focused, clicked and paid attention to. Grass-roots folk art and grass-roots cross talk are more and more familiar to the media, audience and folk art circles: Degang Guo, an unknown cross talk actor; Zhou Libo, founder of Shanghai School; Small Shenyang, which became popular overnight; Soldiers from Hunan regiment; A sensation in the Central Plains, Ma Jie Book Club ... For a time, these grassroots made Quyi. Of course, there are different voices and opinions about these phenomena. In the face of the "grassroots" phenomenon, the author believes that the appearance and existence of this phenomenon, as a crosstalk performer, should pay more attention to and reflect on it, from which we may learn a lot of truth, find a new way out for our crosstalk development in the era of change, and make our crosstalk road wider and wider.

Grass-roots folk art has the mass attribute of grass-roots culture.

"Grassroots culture" is a popular cultural phenomenon at present. "Grass-roots culture" is literally translated from English grass-roots, which is grass-roots, popular, simple and pure, and it is a culture from rural areas. The English-Chinese Dictionary edited by Lu Gusun lists grassroots as an entry, which is defined as: ① the masses and grassroots; (2) rural areas; 3 foundation; Basic.

Grass-roots culture is relative to imperial culture and court culture. Born and raised by the people, it has not been guided and standardized by mainstream consciousness, nor has it been processed and transformed by cultural elites. Full of local flavor and rich knowledge of life. Grassroots culture not only sets people's life concept, but also affects people's spiritual realm.

Ai Jun, a sociologist and folklorist, defined grass-roots culture in his Interpretation of the 30th Anniversary of Reform and Opening-up. Grass-roots culture belongs to a special cultural trend phenomenon formed by some special groups in a certain period of life, and it is actually a phenomenon of "subculture, subculture". It has the characteristics of civilian culture, belongs to a social and cultural phenomenon without specific laws and standards to follow, and is a dynamic and changeable cultural phenomenon. It is different from elegant culture, high-class culture, palace culture and traditional culture. "

"Super Girl", blog, Degang Guo, Cai Jialiang, the dispute over "Bai Han" and "Shanghai Style Clearing the Mouth" are all "grassroots cultures". People are willing to talk about, accept and even recognize these things. Because these things are very close to life, they can be understood and express what they think.

As the author quoted at the beginning of the article, Degang Guo, a little-known crosstalk performer, Zhou Libo, the founder of Shanghai School Qingkou, Little Shenyang, which became popular overnight, and Majie Book Club, which caused a sensation in the Central Plains, are also the "grassroots folk art" of these titles. Their appearance is accompanied by the liberation of reform and opening up, the revolution of ideas, the progress of science and technology and the development of market economy, which is gradually manifested in the changes of innovative forms and social forms, the changes of social morality, hobbies and value aesthetics, the development trend of cultural diversity, and the phenomenon of popular culture among the people. They are a branch of "grassroots culture", another school, another group, another new force and another public paradise.

The characteristics of "Grass-roots Quyi" are very distinct, as defined by Mr. Jiang Kun: They "created a land that dares to speak, and let us see the sharpness behind their humor. They are menacing, showing their culture in a compromise way of social rebellion, subversion of tradition and contempt for authority. Their sharpness and boldness have also been talked about by many people, and those who support them have also found some ways to vent and release in their works. "

From this, we realize that the prosperity of grass-roots folk art and the popularity of grass-roots actors are a kind of folk art that came into being, formed and developed in a specific period, because of some ideas and some fun released by his art form, because of his "sharpness" and "boldness"; Because of its "eclecticism", it has won the welcome and love of the public among the people.

A while ago, the neglect of cross talk also left out Quyi people. In the face of the prosperity of these "grassroots", we should reflect on it-the grassroots have warmed the "public" and the cross talk has neglected the "public".

Crosstalk, which originated in the old society, is a folk art form active in teahouses and temple fairs. Because he is born close to life, his language is straightforward. Let people experience the ups and downs of life in laughter. Remember that crosstalk was reborn as "people's art" at the beginning of the founding of New China? The older generation of artists, with their tireless pursuit of cross talk, went deep into life, either editing in factories or interviewing in the fields. What they have never forgotten is that crosstalk comes from the masses and returns to the masses. Only by keeping close contact with the masses can the vitality of crosstalk be maintained forever. After decades of changes, cross talk has come to enliven the economy today, and many big-name cross talk actors have become elites. They have no sense of direction about where they come from, and cross talk, which was originally grass-roots cloth, has become aristocratic. This phenomenon is like a baby cutting the umbilical cord, which can only be a dead end. Facing the thriving grassroots, there is actually only one shortcut to cross talk-facing the public and returning to the masses. Put down your airs and look for ways to serve the "public" from the artists and folk actors of "grassroots folk art"

When talking about the characteristics of grassroots artists, Mr. Jiang Kun talked about "sharpness", "boldness" and "eclecticism". Because of these, they are welcomed by the public. Today's so-called mainstream cross talk has become a rambling, ridiculous, gag and nondescript compliment. Nowadays, crosstalk is no longer ironic, so people begin to satirize crosstalk. The essence of humor is irony, and cross talk without irony loses humor. Without satirical cross talk, the original flavor of cross talk will be lost. Crosstalk has lost the edge of irony and the boldness of humor, which could have become the most humorous talk show form in China. Today, however, more and more people have lost their audience and the public.

Early crosstalk, as well as any other local folk art form, can reflect the daily life of ordinary people in a rich and true way. Actors can freely explore the advantages and disadvantages of China people, the bright side and the dark side of China culture, and perform the boring absurdity in daily life, whether in officialdom or on the street, bringing joy to the audience. In a word, cross talk once satirized all aspects of China, including the dark side. However, if we look closely at the current cross talk, we have lost our best skills, and the audience began to neglect cross talk, while the "grassroots" of Quyi raised their skills of "sharpness", "boldness" and "eclecticism", which became the focus of Quyi performance, and the public applauded and cheered for them.

We should reflect on cross talk-facing the public for survival.

Grass-roots Quyi challenges the market concept of elite culture

Degang Guo in the north made a banner: Crosstalk returns to the theater; In the south, Zhou Libo walked into the Grand Theatre and gave more than 30 performances. Tickets for Shenyang Errenzhuan are even harder to buy ... It is these "grassroots heroes" that have stirred up the performance market, but the elite culture of the mainstream cross talk is far less than this. It has become a hot topic in cross talk today. The reason is that today's cross talk and cross talk people are sick, and their illness lies in: deviating from the position and pattern of their duties and the concept of managing and managing the market.

Before Hou's generation, crosstalk was not elegant, and its spread was very small, limited to the people that the voice could convey. Therefore, a cross talk, even if it is extremely mediocre, will last forever. Because the communication is primitive, those crosstalk artists are embarrassed, but as long as they can talk, they will have food. They have their own way of life.

Degang Guo gained a sense of direction from his own stage practice: "Follow the rules of cross talk and entertain and educate." In this regard, Deyun Society raised the banner of traditional cross talk. Traditional crosstalk, which originated from the old overpass, takes entertainment as its mission: "Going to the overpass is just for fun. It is impossible to spend money on education on the overpass, crazy! "

At present, there are as many as six teahouses and theaters in Tianjin that regularly perform special crosstalk performances, among which the famous teahouses on Rongji Street and Xinhua Road are active, including the Tianjin Crosstalk Art Troupe headed by Yin and the Ha Ha Xiao Art Troupe. Tickets for these performances are only 20 yuan.

In Beijing, crosstalk has also begun to return to the audience's field of vision. The Tianqiao Music Teahouse next to Chengnan Tianqiao Theater is a crosstalk paradise where Degang Guo and his "Deyun Society" partners gather friends. The weekend crosstalk club in Dongcheng District is also a very popular crosstalk performance venue in recent two years. A small theater that can accommodate 400 to 500 people is packed from Monday to Saturday night. Like Tianqiao Le Teahouse, the tickets for these two events are from 20 yuan, which seems to verify the media's estimation that the reasonable price of tickets for China performance should be between 18 and 48 yuan.

From the above example, we can easily see that the prosperity of these "grassroots" is actually related to the positioning of the market. In fact, the survival of grassroots depends entirely on the market. Without the market, they have no food, and the audience is his "food and clothing parents". For the market, they need to know what the audience wants to hear and see. Parents' faces are their jobs, so their works are vivid. The audience is willing to pay to "listen to cross talk" and have fun there. And our elites don't worry about the market, don't worry about food, and rely on the system to support themselves. No one cares about crosstalk. They complain that TV has surpassed crosstalk and is low. They say grass roots vulgarize it. In fact, some of these people have come out from the grassroots, but when they reach a certain height and become an "elite", they are unwilling to admit their original intentions, just like a child who has had enough of his mother's milk and went out to wander. He is old and rich, but he doesn't want to recognize the skinny man with shriveled nipples when he comes home. Can this be called betrayal?

In fact, it is not easy for grassroots people to go to the market and stir it up by themselves. Mr Jiang Kun said: "They sweat profusely on the stage and try their best to find creative materials under the stage. They have nothing to worry about, even what will be staged in the next performance ... This passion for art is worth learning from all actors in the system. " Therefore, the author believes that the neglect of cross talk is also related to the positioning of our elite. The performance market is not hot for a few elites. The audience wants your performance to be "good-looking", "good-looking" and "fun", so he is willing to pay for tickets to the theater. In Shanghai, Zhou Libo did not dare to send tickets or entrust tickets in the theater, and sold tickets through the window for more than 30 consecutive games. I can't believe any elite dared to challenge him and played 30 games one-on-one Therefore, it is not unreasonable for Mr. Jiang Kun to propose to learn from them. Mr. Lu Xun has long said: "The villagers are no less capable than great writers", and this is the truth.

Therefore, we should seriously reflect on the successful operation of grassroots folk art business culture-seeking prosperity in the market.

Social Responsibility of Grass-roots Quyi Integrating into Mainstream Culture

In the development process of human society, no culture can be divorced from its social value and responsibility for social development, nor can it be divorced from the "two-for-one" direction of literature and art in China. "Grassroots Quyi" comes from the people, from the public and from life, and these cultures inevitably have certain dross and corrosiveness.

While performing lively, artists of folk folk art have inadvertently infiltrated some vulgar performances and dross. Some programs and performances that should not be said or sung are for some cheap applause and laughter and a little box office income, which undoubtedly becomes an excuse for some people to deny grassroots folk art. Healthy and active "grassroots folk art" will form an important supplement to mainstream culture, while the ignorant and backward "grassroots folk art" performance and dissemination will undeniably bring radiation and corrosion to traditional mainstream culture. Under the guidance of Scientific Outlook on Development, we should get rid of some dross, especially the "grass-roots culture" that has caused subversive damage to China's excellent traditional culture. Folk Quyi is a supplement to the mainstream culture of folk art, and its grassroots nature cannot be lost, but its social responsibility cannot be lost. Because grass-roots folk art has congenital defects, their works are not systematic, polished by elites, and have no mainstream consciousness of mainstream culture, so they cannot be said to be perfect. As our cross talk, we can't reflect on our own creation and performance because of these grassroots deficiencies. The solution to the unsatisfactory situation of cross talk can only return to the phonology itself, and the mainstream of cross talk is folk artists. We should undertake the social responsibility of public cultural functions, satisfy the broad audience, satisfy the cultural rights of citizens and improve their overall cultural literacy. Whether individual "grassroots heroes" who have been hyped by the media can become the backbone of the new cross talk art, and whether they can become real artistic "brands" instead of commercial "symbols" made by the media and the market remains to be discovered in practice. Crosstalk is an art, which originated from folk art and developed. After more than 100 years of social practice, it has been proved that crosstalk is not a simple entertainment tool or a means of making money, nor is it a "stepping stone" to fame and fortune. If you want to achieve cross talk and yourself at the same time, as a cross talk practitioner, you must have determination and lifelong dedication; Grassroots folk art has brought vitality to our mainstream culture. We should learn from folk artists, their ability to take root in the public and their ability to integrate into the market economy. But as quyi workers, they should shoulder the social responsibility of the new era.

"Laughter", as an art of cross talk, belongs to aesthetic purpose, but it is also a means to express love and hate, spread ideas, enlighten ignorance and enlighten the soul. The creation and performance of cross talk are inevitably "laughing for the sake of laughing" or even vulgar. Advocate and develop a "grassroots culture" that is popular among the masses and has progressive significance for social development. It is also our responsibility to integrate grassroots culture into mainstream culture. From the artistic attitude, artistic taste and spiritual pursuit, this gives the creation and performance of cross talk a minimum bottom line: without the consciousness of serving the public, there is no way out for the prosperity and development of cross talk; Without the cultural concept of market economy, there will be no new works popular in the market; Without the pursuit of health and progress, it is impossible to truly win the love of the people. Let's reflect on our cross talk while discussing and analyzing the grassroots phenomenon, sum up the experience of exploration efforts and the social phenomena we witnessed, combine the theoretical research of cross talk with the practice of stage performance, and give calm and timely feedback and discussion, which will help accelerate the cross talk to become better within the possible scope. This is the original intention of the author to write this article. He Xia, who has been engaged in cultural work for 30 years, also talked about cross talk for 30 years. Out of personal preference, the couple have been tirelessly pursuing and working hard on the cross talk stage. So far, they have created and performed hundreds of folk art and crosstalk works that are popular with ordinary people. Although they are not professional crosstalk performers, they always adhere to a concept in their creation and performance, that is, taste and style, which is being diluted or even ignored by some actors, especially some young crosstalk performers. Loved by the audience, the couple comedian told reporters before summer that since ancient times, there has been a saying in China phonograph circle that "a gentleman leaves three points". Even in the poor old society, actors have to choose objects and occasions when performing arts, which is by no means what they say. Since Ma, a famous crosstalk master, taught himself art, he has put virtue first on the basis of "establishing morality, making statements and making meritorious deeds". Mr. Su, a master of Tianjin literature and art, has the standard of "three don't say", that is, "don't say anything that uglifies, discriminates against the disabled and demeans and insults the image of women"; Don't say anything against ethics; Don't say vulgar, low-level, boring and without cultural taste. It is with this "three noes" that Mr. Su, together with his diligent study and hard work, became a respected and excellent crosstalk artist. Ni Ming bluntly said: In today's impetuous world, some actors in the entertainment industry give up their self-esteem, principles and artistic ethics in order to please some audiences, make things up, pollute the stage, and create a number of so-called "fast food" programs that lack cultural literacy and accumulation, which seriously violates the law of Quyi performance. There are many cross talks, sketches, duets, and of course some movies, TV dramas and TV programs. Plots and "gimmicks" that vilify disabled people and farmers can be seen everywhere. In crosstalk performances, partners are often called their own sons, and men and women are casually used to take advantage. What's more, take politics as a joke. Crosstalk certainly needs laughter, but laughter is only a means, not an end. Ni Ming said that he once saw a party. Language programs were full of glib words, vitriol and self-uglification, and there were scenes of mocking pregnant women, the blind, the deaf and dumb, stuttering in public and satirizing the living conditions of migrant workers, and even more viewers were dissatisfied. I feel blushing.

In this regard, he Xia appealed that art is not used for uglification and venting anger. As an actor with a certain cultural accomplishment, he will definitely play a leading and guiding role consciously or unconsciously. Actors' performances should be more civilized, jokes should be more refined, and language should be more literary. We should learn to respect everyone, especially some vulnerable groups. Respecting others can make others respect themselves, which is the obligation of every citizen and the conscience of artists. This is a kind of personality pursuit and humanistic care. In a word, actors should keep their mouths shut! People often ask me, with your existing ability in Ni Ming, what can you do to be better than the cadres and the masses? An expert once told me that with your awards and popularity, if you were in a professional troupe, you would have been a national first-class or second-class company. Think about it, too. I have talked about cross talk, worked as a director, edited programs and worked as a TV presenter since I set foot on the front line of group literature. Many people regard me as a professional crosstalk performer or a TV employee. In fact, I am just an ordinary group literature counselor. Those achievements are closely related to my career. It can be said that the fertile soil of the league literature front has created me. So what do I say to them.

Unmodestly speaking, I should be regarded as a young old group writer, about the same age as me, but it seems that there are not many people who have been on the group writing front for more than 20 years, because the group writing work does not name names or make money, and even the title evaluation is based on other people's cultural and artistic series. When I first applied for librarian, I didn't expect the conditions of group writing to be so complicated, but I was hired by my own advantages. Because it is an exception, individuals naturally cherish it, because they know that group writing is demanding, so they work harder to create more favorable conditions for their own tomorrow. Although I stepped into the front desk of group writing because I am good at Quyi creation and performance, so far, I have won dozens of awards, large and small, but I still have to devote myself to various group writing activities. Whenever I see the smiling faces of ordinary people on the stage, I am naturally happier than what award I won. Needless to say, only in recent years, we have planned and organized activities such as "China Quyi Master's Trip to Northern Jiangsu", "Jiangsu First Red-crowned Crane Cup Crosstalk Invitational Tournament", "Holy Wine Cup" TV Quyi, sketch grand prix and so on. The development of these activities has had a certain impact on society. At the same time, it has also created certain economic benefits for this unit.

Adhering to literature and art serving the people and socialism is not only the direction of our cultural center's efforts, but also one of my personal goals. In recent years, I have led various teams to participate in nearly a thousand voluntary tours for farmers, with an average of about 60 tours per year. Moreover, it is often transferred by provincial and municipal cultural propaganda departments to participate in various activities to send plays to the grassroots level, which has produced a good response. This is also rare in professional art groups. There is no way. Who makes us a group of writers? Colorful group work and colorful social life have also brought my own artistic creation and performance to a new level. 1July 1996, I published my personal portfolio. In February, 2000, Jiangsu Satellite TV grandly released the cross talk album with Xia, and my works were also broadcast on CCTV's Qu Yuan Miscellaneous Altar, Art Garden Scenery and Friends. This is something to be proud of for a person who is engaged in group writing. It is my consistent goal to study hard and be practical. The winning of a series of national awards such as Beauty of Hometown, Forever Friends, Poor Happiness, Unbelievable, Zhang Tietou, etc. is enough to prove that I am still struggling.

In recent years, the Heart-to-Heart Art Troupe of CCTV has been welcomed by people, and crowds are surging everywhere. In fact, in my personal memory, our cultural center has performed a performance similar to Heart to Heart Art Troupe for at least 20 years. As a county-level cultural center, I find it difficult to do this. In the spring of 2002, we launched a series of performances of "Nongjiale". The selected village groups are relatively remote, but our popularity seems to be no worse than that of the "Heart to Heart" Art Troupe. People pull banners, set off firecrackers, beat gongs and drums, and are jubilant, just like festivals, but there are only a dozen of us. No wonder the local people said with emotion, "I have seen such a team during the Cultural Revolution." Once we performed in dagang town, Du Yan County, it was raining cats and dogs, but no one left. They insisted on watching the performance under umbrellas and ponchos. What is even more touching is that an old lady in her sixties couldn't bear to see my wife singing in the rain in the summer and held an umbrella for her until the end of the program. This is a touching photo of "soul mate" in the corridor of our cultural center, which was later published in many newspapers. Personally, if I want to go out, make a name for myself and compete for profits, it will definitely be much better than in Yancheng. But whenever I think of so many lovely audience friends and the flourishing literary career of Qunying, my heart is so calm. Only then did I understand better what literature and art are for the people and who are our parents. I think a literary and art worker who is far away from the people and life will definitely be eliminated by history. Therefore, whether in the future or in the future, I will still give full play to my skills, insist on sending literature and art to the grassroots, make friends with peasant brothers, and make my due contribution to our literary and art career group. "Crosstalk Ni Ming to the city channel when the host! Specially tell the story of solving the case. " A few days ago, a reader called the reporter and said, "He is as good as crosstalk!" Ni Ming, a local crosstalk performer in Nanjing, also became the host across the border? The reporter asked Ni Ming himself for verification. Ni Ming said seriously: "When I became a host, I found some strange phenomena in the host circle. I have to talk about it. "

"Crosstalk actors make decisions and set a precedent."

Crosstalk actors pay attention to learning and teasing, and hosting programs is naturally easy. More importantly, Ni Ming had rich hosting experience many years ago. "I have been a special host of Jiangsu TV Station since the 1980 s and the first host of Yancheng TV Station to do variety shows." Ni Ming said that there was no concept of "host" at that time, only "announcer". "At that time, there were very few hosts, and there were very few schools that specially trained hosts. So many crosstalk performers are attracted by TV stations, because we have quick response, strong language ability and versatility. Look at Wang Gang, Zhu Jun and Mao Wei. They are all comic dialogue actors. " From the layman's point of view, it is a big change from a crosstalk performer to a host, but Ni Ming said there is an inevitable connection. "An excellent crosstalk performer will definitely be the host!"

Mystery Detective Group is a legal program based on stories, which is Ni Ming's strong point. "Storytelling is my strong point. I am not a host to increase exposure, but to make the story itself attract the audience. The carrier of TV is very suitable for telling stories. "

"Some hosts are uneducated and unkind."

Speaking of the host, there are two people who can convince Ni Ming. "Weibo and Lao Wu! You see Morphy, whenever there are some people or remarks that deviate from the mainstream values in the program, he can always say some incisive words to make some fine-tuning, which is related to his rich experience. Lao Wu is a reporter. His long-term work experience makes his grasp and judgment of news events very accurate and his views are very thoughtful. "

Ni Ming also saw the "symptoms" of some hosts in many programs. "I have also seen other presenters telling news in dialects on TV. But in the end, they can't do it because they have no culture and won't say anything. Sometimes listening to them deliberately speak dialects makes me feel vulgar. Lao Wu's Nanjing dialect is very peaceful and is communicating with the audience. " Compared with the host's lack of pen and ink, Ni Ming reprimanded some hosts even more. "They have no compassion! There are two radio hosts who are very popular and I like them very much. Once, they talked about a piece of news. A female high school student, after three years of examination, finally entered the university. She excitedly ran to the balcony to call her family to report the good news. Unexpectedly, she fell from above, paralyzed, and her college dream was shattered. The two hosts actually finished talking and laughing! I decided at that time that I would never listen to this program again. " In the interview, Ni Ming repeatedly stressed to reporters that "the host is an individual first". "The master should be kind and compassionate. After all, you represent a platform, and your words and deeds will be conveyed to the audience. Don't be immoral! "

"Students should carefully take the broadcasting major"

In Ni Ming's view, the host industry is mixed, and the root cause should be traced back to the education and enrollment of broadcast hosts. "Many young people have a misunderstanding: they think that the host is glamorous and the salary is high. But some children's shapes and voices are not suitable. It's not made of this material, so why squeeze in? " Ni Ming told reporters that some friends would lead their children to ask Ni Ming to tutor them and teach them some talents, but he mostly declined. "Parents think that children can learn art only if they don't study well. This is all wet! Artists without culture can't go far at all. This is why people who study art and engage in art now feel frivolous. " However, many schools see that broadcasting and hosting majors are profitable, so they set up this major regardless of the conditions. "As far as I know, many professional teachers have just graduated themselves." Ni Ming wants to warn those students who are going to apply for broadcasting and hosting. "Be sure to know if you have this condition and really love this major. The host circle is vanity fair. If you have a bad attitude, it is really not recommended to walk in. "