What is the artistic attainments of Master Ma, a leading figure in phonology?

Usually when it comes to crosstalk masters, most people think of Hou and Ma. When it comes to cross talk, there is only one candidate, and that is Ma.

It stands to reason that, as far as the status of crosstalk performers after the founding of the People's Republic of China is concerned, including artistic status and comprehensive status, Ma is older than Hou, but he is usually in Tianjin, not as good as Hou who has lived in the capital for a long time. However, in the eyes of many audiences, Ma represents a street culture that is more close to the people, and his cross talk works are more about ordinary people, so he also thinks that the image of Ma is more accessible.

Judging from the folk image, it is not as good as a horse. There are many cross talk works by Ma about ordinary people, and most of them are performed in the first person, which makes the characters on the stage look like themselves but not like them, making people feel better. As far as talent and performance ability are concerned, he may not be as good as Hou, but in the eyes of ordinary people, he is more worthy of love.

Ma's performance in three career stages is divided into three important parts, one is traditional crosstalk, the other is new crosstalk, and the other is stand-up crosstalk in his later years.

Ma has written and performed more than 200 traditional cross talks, many of which became classics after his performance, including Article Meeting, Opening a porridge factory, Crossing the Courtyard and so on. After the founding of New China, Ma performed many works of the new era, including Buy a Monkey, Meet the Fans, and Start at Ten o'clock. Among them, Ma Daha, played by Ma, became a typical figure in the history of comedy in China.

In his later years, Ma usually performed alone on the stage, putting most of his energy into the creation of stand-up comedy and jokes. The joke "I'm teasing you" is small, but it sounds memorable.

From the unique performance rhythm, it can be seen that Ma sometimes learns to sing a few words of Peking Opera, but it is quite different from his later singing. He often uses the word "pass" in his performances, such as "opening a porridge factory" and "praising the house". When he is not good at speaking fast, at least Li Boxiang's mouth is not neat enough.

In other words, Ma's performance is actually a short board, not as comprehensive as Hou and others, but his kung fu and charm in speaking and teasing are beyond the reach of ordinary crosstalk actors.

Ma's performance is very plain, close to the audience and speaks like a Syrian family. In addition, Ma also pays special attention to expression changes and body movements, integrates into his own personalized performance, and satirizes the common human nature problems of ordinary citizens in a self-deprecating way, but at the same time reveals a little cuteness.

Many viewers may be impressed by Ma's performance style, that is, his performance seems to have no accurate words, and he seems to be unprepared for a sentence. Actually, it's not like this. Ma Lisan is very particular about acting lines. Even if he repeated and stammered, he didn't say it until he understood it in advance. This is his unique performance rhythm, especially when he is old. Some people want to learn from him, but they only learn a little.

Crosstalk is not awkward. It is largely the art of performing rhythm. Ma attached great importance to the performance rhythm and left too many classic works.

Ma's art and artistic morality are exemplary, and he pays special attention to the artistry of cross talk. He once said that we say that cross talk is not completely amusing or embarrassing, and actors should have their own artistic pursuits.