How did the crosstalk performers come?

The origin of crosstalk performers from generation to generation is Jianghu rules, and crosstalk performers are required and restricted by Jianghu professions from birth to promotion.

The so-called seniority, apprenticeship, is a kind of access restriction for practitioners. This rule is actually borrowed from pear orchards and storytelling. Because compared with these two industries, crosstalk is too humble and has no sense of existence.

There are no written records of several legendary grandfathers in the music industry, and even unofficial history, a folk, never mentioned a sum of money. It's all passed down from mouth to mouth by practitioners. Because the practitioners in this industry are collectively illiterate, it is difficult for them to write and preach by themselves. In addition, it is easy to spread jokes in words and be "erased" by others. Therefore, for the sake of food security, crosstalk performers have always followed the rules of oral instruction, including the traceability of this industry.

Some people in the crosstalk industry regard Zhang Sanlu as the originator of crosstalk. It is said that he is an octagonal drum clown who is good at catching fists while singing. However, this person is eccentric and unable to cooperate with his peers, so he switched to performing alone in a rage and called his skill "cross talk". This is also the earliest name of crosstalk. Prior to this, the so-called "image sound" and "image life" were often suspected of being far-fetched, belonging to the later generations who forced the relationship and gave money to the industry when they were elegant.

But this Zhang Sanlu not only has no written records, but also doesn't even know the date of birth and death. He is a complete "three noes" Therefore, more practitioners still think that Zhu Shaowen is the real ancestor of cross talk. After all, he is not afraid of a definite life, and people who have seen him also exist. Taking him as the source of cross talk, historical research is more real.

Therefore, no matter how many comic dialogue bulls there were before Zhu Shaowen, or how great Master Zhu Shaowen was, it can't be tested and verified.

Zhu Shaowen's greatest contribution to crosstalk, in addition to leaving some classic traditional jokes, also formally established the portal of crosstalk. Zhu Shaowen accepted a brother with Shen. In fact, they are as poor as a church mouse, and they are not afraid of their age difference of more than two generations, so they are called apprentices. After they went to school in poverty, they also chopped the branches.

Since then, the three major schools of crosstalk, Zhu School and Shen School, have been formally established. However, due to the different development experiences of these three schools, today, the phonograph circle is basically a descendant of Zhu School, and only a few disciples of Shen School in the northeast have entered the stage.

The generation of crosstalk started from Zhu Shaowen's generation, and of course Zhang Sanlu was the first generation. However, the portal and later stereotypes of cross talk were established here by Zhu Shaowen, and many things are still in use today.

However, the social status of crosstalk artists and their status in folk art has always been very low. In Jianghu dialect, crosstalk is put together with poor families, that is, beggars, and is regarded as two equal industries. Some even directly regard cross talk as "business", which is a kind of deception.

It is precisely because of their low social status that it is difficult to support themselves that many crosstalk artists have learned various skills, most of which are mixed with several portals, from singing Peking Opera to telling stories on a part-time basis, and simply rely on Taiping lyrics as their main means of livelihood.

That's why crosstalk artists have so many bad skills. Just because the crosstalk industry itself does not have a set of theoretical skills, they can only see the fire of other industries, so they steal the art and reinterpret it with some jokes. Crosstalk artists who eat hundreds of meals are naturally inferior. Crosstalk artists all know that people from all walks of life, such as Ping, Cai, Drum and Melon, should be invited to join in the business, because they have given you food. If you don't invite them, your ceremony will be flawed and easily scratched by others.

However, this loose structure and extremely low social status have caused crosstalk artists to be trapped in Beijing and Tianjin, which has little impact on the outside world. Li Deyang, who was almost deified in those days, was directly ousted by the audience when he went to Shanghai to perform, and died in Shanghai when he went to acupuncture in Northeast China, which shows how regionalized this art is.

The official written record of crosstalk, until 1908, Lianzhi Ying's "is also a sequel" just mentioned:

It can be seen that in the intellectual class, crosstalk turned out to be a new thing. Later, when Zhao was compiling popular literature, he received a large number of contributions from folk art such as drums and strings, but he rummaged through all the manuscripts, not even a cross talk article.

However, when Hou was rated as one of the top five crosstalk performances in Tianjin, he performed at the bottom of the theater and only got about half of the drummer's appearance fee. After Lin Bao asked for more money, he was also abused by the teahouse manager, bullying his teachers and destroying his ancestors.

The cross talk industry is booming, and the social status of cross talk artists is evident.

Crosstalk actors really walked into the room and turned over to become an art category. In fact, it was after liberation that the cross talk reformers led by Master Hou purified cross talk and diluted all old ideas, especially the portal of generations, so that cross talk was nirvana. Moreover, this kind of nirvana is actually a comprehensive upgrade that was unimaginable in the past.

Among them, Mr. Lao She made the greatest contribution. Mr. Lao She not only personally revised many traditional jokes and removed their dross, but also used his position in the mainstream cultural circles to vigorously advocate cross talk, which laid a solid foundation for later becoming a scholar and literary hussars.

It can be said that if Master Hou and others at that time insisted on the so-called "tradition", "portal" and "seniority" in the past, opening their mouths was the jargon of Jianghu, and they always bullied teachers and wiped out their ancestors to clean up the portal, then crosstalk entered the historical garbage dump as early as the 1950s.

In recent years, "traditional return" and "generation portal" are essentially a kind of commercial packaging hype material, not a real traditional culture. Its true face is an illusion created by some groups out of thin air in the name of tradition on the premise that the new cross talk is declining and cannot cater to the rich entertainment market in the new era.

Behind this illusion is not the so-called "culture" and "retro", but a profit-seeking means of capital operation. The purpose is not to promote traditional culture, but just naked business.

Moreover, with the appearance of a leek-cutting group becoming more and more explicit, coupled with the lack of members' overall culture, there are fewer and fewer hype materials available for mining, and this illusion is about to be broken. When the tide of capital recedes, crosstalk will have a chance to return to its original source and the small and quiet circle.

Crosstalk actors are strict about seniority, but they have ulterior motives. Hou Yuewen, Ma Zhiming, Li Wenhua, Yang Yi, and Wang Jinbao (the nose in "The Five Senses Strive for Merit") said that there is no generational difference in cross talk, so it will not delay others from doing good cross talk. The first two are performers, and the third worships idols (the younger generation didn't say cross talk). The latter two have not learned from each other so far.