The view of summer

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? Artists of the older generation, 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 came out from the grassroots, but when he reached a certain height and became an "elite", he was unwilling to admit his original intention, just like a child who had eaten enough of his mother's milk and went to the outside world. 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! Xia was a female comedian engaged in cross talk in the early 1980s and the only female disciple of the cross talk master. Many of her masterpieces, such as Whispering, What's the matter, Colorful, etc. , have been imitated by Jia Ling, who was popular after 80s. Not long ago, Xia, as the chairman of baixia district Quyi Association in Nanjing and the secretary-general of Nanjing Crosstalk Club, attended the first National Crosstalk Theater Forum. As the only public crosstalk team in China, Xia and her husband have devoted a lot of efforts to this team. Facing colleagues all over the country, Xia has something to say.

When you hear the name of Heng Chang Nanjing Crosstalk Club, you will surely understand that we are a club named after an enterprise, and we have been doing public welfare performances. In other words, ordinary people listen to cross talk for free. There must be some doubts when I hear that I don't spend money to watch the performance. At the very least, where does your performance cost come from? To tell the truth, it is both a kind of helplessness and a last resort to let the enterprise name and perform public welfare performances. Why do you say that? As we all know, although Nanjing is the dock of cross talk, and China's highest-level Quyi Peony Award has been settled in Jiangsu for a long time, the development of Quyi in Nanjing, especially cross talk, in the past 20 years. Although Nanjing is a metropolis, it has neither its own professional Quyi team nor an independent Quyi Association. One of the few veteran comrades engaged in crosstalk performances also retired and changed careers. It should be said that there are only a handful of professional employees in Nanjing. There won't be more than five people together. Although there are many amateurs, the level is also high and low. Since there are so few people, why set up a club? There is a simple reason. We have always loved the art of cross talk and devoted almost all our energy to cross talk. At that time, it was also influenced by the Beijing Weekend Crosstalk Society that dared to set up a Crosstalk Society in Nanjing. But I didn't expect it to be so difficult to set up a cross talk performance team in Nanjing. There are many human factors in it. Fortunately, some old gentlemen in Nanjing, such as Lu, Liang Shangyi and Li, are very supportive. It is under the leadership of the old gentlemen that the club was established.

It was originally planned to be Dacheng Hall in Nanjing Confucius Temple. At that time, my teachers Jiang Kun and Li Jindou also helped us to visit the site, but for various reasons, it was unsuccessful. Later, I wanted to co-organize with Happy Teahouse in Nanjing, but the teahouse was invested by others personally, which caused a lot of inconvenience in performance mode and management mode. In this case, we found the Cultural Bureau of baixia district, Nanjing, and the leaders of the Cultural Bureau were very supportive, saying that we could provide venues, but you could not sell tickets. At that time, the state proposed that cultural centers, libraries and museums should be opened free of charge. Therefore, our position is to watch the performance for free, and it is the only one in the country until now.

In fact, at the beginning of the establishment of the club, we tried to sell tickets, and later found that people who didn't sell tickets were ok. Few people came when they sold tickets. Later, we tried to send tickets to cultivate the audience, and then we wanted to sell tickets. The leader strongly disagreed. Because Nanjing people don't seem to have the habit of buying tickets to watch performances, it's like you can invite him to dinner, but never let him invite you to dinner. Not to mention us, the tickets for the Peony Award were also issued by other units under the overall planning of the government.

Xia said frankly: It is not easy to talk about cross talk in Nanjing, because Jiangsu has its own three kinds of music, Suzhou Pingtan, Yangzhou Pinghua and Xuzhou Qin Shu. The cultural department of the government has also put the main investment and energy into its own brand production, and the Quyi Artists Association is also trying to build its own superior brand. It would be strange if Jiangsu did not promote its own products and tried its best to promote cross talk. Nanjing crosstalk had a glorious past, but today, the prospect is not optimistic. The existence of cross talk in Nanjing is, to put it mildly, like chicken ribs. Not only is there no good performance venue, but there is also no good market. Although some people like cross talk, it's just a hobby and won't be regarded as a career. We have attended several young people's master ceremonies, but almost none of them will talk about cross talk after the ceremony, and basically all of them have gone to other places. There's nothing we can do. Everyone has to bring home the bacon. Who can say that cross talk doesn't make money? It is also one of the weaknesses of Nanjing crosstalk that the young and the yellow are not connected.

Xia said: Nanjing Crosstalk Society has changed four places since its establishment four years ago. It's really a beat for a place. The best year is 20 12, in the small theater of Jiangsu provincial cultural center, because it is close to the city center and densely populated, which is convenient for the audience to enter and exit. Without a good market and popularity, it is difficult for crosstalk to support itself by selling tickets in Nanjing.

Xia said: We said it was a public performance, but the actors were subsidized. Generally, everyone in a small theater performs 200 yuan. If you go to other places to mourn, it will be relatively higher. Children, old and young, will not be deceived. According to this standard, government subsidies are simply not enough, because as long as you perform, actors don't care about you. Without subsidies, they may not come at all. To this end, we found Mr. Chairman of Jiangsu Suhua Group. Because Mr Zhu is our good friend, he also likes traditional culture very much. Without saying anything, he decided to support us to do charity on the spot, which led to the rapid development of Nanjing Crosstalk Club in Heng Chang, China. It should be said that entrepreneurs pay the bill and the people benefit. It is precisely because of the support of enterprises that we can boldly enter the grassroots and the community. In order to learn and communicate in Xi, Tianjin, Chongqing and Shanghai. At the same time, some famous crosstalk artists were invited to perform in Nanjing and presented gifts.

Up to now, China Heng Chang Nanjing Crosstalk Club has performed nearly 500 performances with an audience of more than 300,000 people. But Xia bluntly said that if an artistic variety can't survive in the market and can't be closely linked with the market economy, then its existence is problematic and does not conform to the law of development. From this perspective, the development prospect of Nanjing crosstalk art is even less optimistic. For this, Xia, who has been on the cross talk stage for 30 years, also has his own thoughts. She believes that any art has its own life cycle. The same is true of Peking Opera, which once enjoyed infinite scenery. Both of them are facing survival and development. The problem is how to make more people like it and make more people like it in the mainstream society. This is vitality. All art forms in history are the same as traditional culture, except China Chinese characters and Chinese, which took the longest time, but they are also challenged by new challenges. It can't be the same, only everyone likes it can survive. Like Chu Ci, Tang Ci and Song Ci, they were all popular and fashionable in those days and eventually disappeared. This is the law of historical development. The question is whether there is any way to make traditional art forms go further, such as ordinary movies that have been facing extinction for more than 100 years. The same is true of many local operas, and only a few elderly people are listening. Without changing the form and adding fashion elements, it will definitely not work.

The same is true of cross talk. We need to stick to tradition, but add fashionable things. This is innovation. How to add it? How to add it? Young people are the mainstream of the times. Crosstalk in Beijing-Tianjin small theater is so popular because many young people like him, which has room for development and survival. Crosstalk should still look for new elements from young people, so that the art forms that young people and middle-aged people like will have a certain market. The development of cross talk is not a problem in Nanjing, but the survival of the whole art form. This is a big topic that needs more people's attention. If cross talk can be brought back to Nanjing Confucius Temple, it will definitely be improved. First, Confucius Temple is a gathering place of traditional culture in Nanjing, where many famous crosstalk artists have performed. Secondly, the Confucius Temple is so popular that the audience can watch it at any time. Third, through the market test, let Nanjing cross talk develop healthily. Stick to tradition, in fact, you don't need to be trapped by tradition. Perhaps, the traditional marginalization is just another road to development. In recent years, there have been many masters in China phonology circle, which makes the fans who like cross talk sad. In particular, the death of Mr. Ma Ji, an iconic figure in phonology, has dealt a heavy blow to the art of cross talk. Ma Yun left with his trademark smile. He took away smiles, joy and cross talk.

Some netizens once exposed a program performed by a late crosstalk master in heaven. After reading it, it's really sad. Seeing these national treasures leave us one by one, I'm afraid my colleagues in the phonograph industry can't just be immersed in grief, can they? Because I studied under Mr. Jiang, and Mr. Jiang is Mr. Ma Ji's big apprentice, so we should call him touting!

I first met his old man in the late 1980s. At that time, crosstalk was very popular. It's really impossible to have a party without crosstalk, and it's hard to be happy without crosstalk. /kloc-0 In the winter of 1987, Jiangsu Quyi Artists Association and other units organized a cross talk invitational tournament in Xuzhou. Master Ma was invited as the director of the judges. My partner at that time was Ma. Because it was the first time we met, I introduced the horse to the master. Unexpectedly, the master said humorously, "My name is Ma Ji, and you gave me an army. You can even do it, and you are sure to win the prize. " As expected, Ma won the Best Actor Award, and in that invitational tournament, Xuzhou was lucky enough to be a disciple of Master Ma, which really made us envy.

When my wife Xia Gang and I started performing cross talk, although the newborn calves were not afraid of tigers, the pressure of survival was still great. At that time, people in the circle were not optimistic (there were still many people who despised cross talk between men and women), and public opinion was not concerned. We live in the south. Can I go this way?

In the early 1990s, at the first cross talk sketch contest in Jiangsu Province, Mr. Ma saw "Flowers in Bloom" written and performed by Xia and I, and enjoyed it very much. At that time, he told us that this kind of works with fresh and elegant literature and art without losing female humor should be performed more. This is your way out. Xia and I were very encouraged by the teacher's words, and since then we have strengthened our confidence in speaking well about cross talk between men and women. In those years, we produced several works at once and achieved good results. Experts and scholars such as Xue, Zhong and Dai expressed their appreciation and support for our cross talk. However, the reality is that cross talk between men and women is still difficult to survive. I wonder if there are any misunderstandings in the knowledge and aesthetic concepts of those experts and scholars. Does Master Ma support us just to comfort us?

Later, I learned that Master Ma was very concerned about and supported young crosstalk performers such as Xing Yingying from Anhui and Guangzhou, and these actresses did produce some representative works at a certain stage, such as Wen Bing, Whispering, Male Soldier and Female Soldier. Until today, I finally understand what Master Ma advocates is innovation under inheritance and development under innovation. No matter his cosmic cigarette or the merits of the five senses, there are distinctive innovations and breakthroughs.

I have a colleague who is engaged in literary creation. In the past, he always seemed to disdain the art of cross talk. However, when he saw the cross talk in People's Literature, he immediately changed his view on cross talk and even became our good partner for a time.

Scholar Yu once admitted in an academic lecture: "Mr. Ma Ji is a scholar-type crosstalk master. He not only changed people's understanding of crosstalk, but also established and improved the social image and status of crosstalk art itself and practitioners. At this point, he did inherit and develop the artistic thoughts and ideas of the post-masters.

I wonder what my colleagues in the music industry will think when they hear this. Didn't you see what the old gentlemen abandoned? Today, some people play with it as a magic weapon. Peisi Chen has a famous saying that people who engage in comedy must know how to be looked down upon by others, but never treat themselves as people, otherwise they are nothing. ...

Don't worry, Master Ma, although you are always far away from us, your art is still there, and your charm will last forever. I believe that even in heaven, you will have your unforgettable laughter!