Commenting on Wen Wei Po's "Crosstalk, Laughter and Effect", what are the extreme views of both sides?

On March 5th, Wen Wei Po published an article "Crosstalk Can't Let Laughter Dominate the Effect". The topic is very eye-catching at present, and the content is relatively simple. Mainly quoted two paragraphs of Wu, vice chairman of the Chinese Music Association.

Wu is not a crosstalk performer. He is the director of the research institute of China Academy of Art, that is, engaged in Quyi theory. Therefore, what he said is quite a bit of a retreat. I only agree with half of his two paragraphs.

Quyi research also needs to strengthen the construction of its own discourse system. The creative practice and academic research of Beijing crosstalk, as well as the inheritance of art and the spread of culture, should pay special attention to their own aesthetic logic and formal style, especially respect the traditional theoretical achievements and theoretical expression of discourse, and regard this as a very urgent and important task in the future development of the industry.

This paragraph is a bit awkward to read. According to the author's shallow understanding, what he said can be simply summarized as: Crosstalk should respect tradition and theory. The author agrees with this. The reason why cross talk has risen from the humble street to the height of Quyi Palace and language art lies in the summary and induction of the laws of traditional art, and another very important thing is to get rid of its dross and take its essence. The author believes that if the comic dialogue in the old society did not change a word, the comic dialogue industry would never have such a social status until now. At best, it is similar to the duet before the reform.

Crosstalk is a language art, every crosstalk performer says so, but how many people are willing to study its artistic characteristics? For example, how many actors can play well now? Many people talk about penetrating power to make the audience worry that he will suffocate because he doesn't know the mouth shape and rhythm. There is another important reason for the prevalence of cross talk between children and mothers. Except for children and mothers who laugh easily, few performers study the art of clapping. Like Degang Guo's grandmaster Zhao Peiru, we should pay attention to every word, every pause and every tone. Anything else?

The lack of tradition and theory makes crosstalk, a language art, in danger of sinking. Don't just mention tradition and theory and think it is out of date. On the contrary, these lessons accumulated over hundreds of years are the most precious things in cross talk.

In Commissioner Wu's view. . . . . In the relaxed and happy laughter, people are not only entertained and relaxed, but also enlightened and enlightened. Laughter is the means, and understanding is the purpose. Making people laugh is just a form, and enlightening people is fundamental. Once the form obscures the content and the means alienates the purpose, it will not be worth the loss, but it will be counterproductive.

I disagree with this passage. Raising cross talk to the level of enlightening people to distinguish right from wrong is a manifestation of not understanding the history of cross talk. Since its birth, crosstalk has naturally been divided into green gate and muddy gate. In Qing Dynasty, literary rap was the main theme, while in Hunmen, stories made people laugh. Either way, its purpose is not enlightening. At the beginning, Qing was just an unrelated flag bearer for fun. In modern terms, this is called a literary salon. Hunmen just attracts people to pay for jokes and stories. There is a jargon in cross talk called "Let's have a Spring Festival". See what people say about cross talk, this is the basic skill. No one has ever said that it is a truth to teach the audience in disguise.

After the merger of Qing and Hun, crosstalk artists also made a living from it. Some satirical crosstalk can really whip the darkness and make people think, but it is still a means for artists to make their audience make a living. There is a saying in cross talk that "you can't laugh if you don't make sense". Inspiring people is just a windfall.

Of course, after liberation, crosstalk has become a light cavalry in Quyi. As a means of propaganda, cross talk has really made great achievements, such as Night Walk, Buying Monkeys and Unhealthy Wind, which satirizes some unhealthy phenomena in society. Besides, Lust in the Tiger's Mouth and Five Signs of Merit mentioned in Wen Wei Po are both excellent classic satirical crosstalk. However, we still have some jokes, such as empty city tricks, teasing you, scratching, criticizing the Three Kingdoms, tongue twisters and alcoholic drinks, which are not intended to inspire people's minds. They are classics.

Existence is reasonable, and the creation and performance of cross talk are not excluded. If we must judge according to the mentality of enlightenment, most traditional old jokes will be banned.

Vice President Wu's remarks are a little extreme, which does not mean that some views of some folk crosstalk groups represented by Deyun Society are 100% correct.

For example, Degang Guo once said that "cross talk is too funny if it is not funny", which was regarded as a wise saying by Gang Si. This is true at first glance, but its context is suspected of endorsing pure funny cross talk.

For decades, phonology has been divided into Beijing circle and Tianjin circle. One of the characteristics of Beijing crosstalk is that it doesn't pay much attention to structure, and its mouth is full of baggage. In Jiang Kun's time, the so-called "Tiger Mouth Dream" and "Music in the Corridor" were at least a whole work, but now many new crosstalk works have no structure at all and become a collection of jokes like talk shows. Is this crosstalk still called crosstalk?

Ma Lisan once said that when it comes to cross talk, we are not making a fool of ourselves, making strange noises or being super wonderful. That's not true. Nowadays, many so-called cross talk performances are full of dirty words and yellow jokes. Some crosstalk performers like to make a hullabaloo about and even pretend to fight in groups. This kind of performance makes some old listeners who are used to listening to the old gentleman's works inevitably resent these rising stars.

The author also thinks that cross talk can't develop in the direction of pure comedy and can't be advocated. Since it is a language art, cross talk must have a certain threshold. If there is no threshold for comedy, it should not be called cross talk at all, but a talk show for two people, so as to avoid some arguments and crusades.

But from this, you think the cross talk of Deyun Society is pure comedy? Then you are also wrong.

Deyun Society has not only those messy flow actors, but also many people who insist on traditional cross talk, such as Gao Feng, Li Gen, Guo Qilin, Kong Yunlong and Liu Hechun. These lonely people who are willing to pursue art are the bottom of Deyun Society. Without them, Deyun Society would have flown long ago.

In other words, Deyun Society always walks on two legs. People who insist on traditional cross talk are based on wealth and savings, and actors who are not jealous of super-exciting traffic are catering to some people's cheap applause. If you only pursue one side, neither praise nor criticism is objective.

It is still explained by the traditional saying of cross talk, "I can't laugh without being unreasonable." Whether helping some people or some people in the social field, many of their views are one-sided and extreme. If you don't talk about it, no one will pay attention. People who eat melons, faced with some extreme views, don't have to stick to it. Think of it as a mother and son's voice, after listening.