What do you think of Jiang Kun’s self-created “Hip-Hop Crosstalk”?

Crosstalk is all about talking, and what you practice is also the skill of talking. Two people or one person can amuse the audience through rich language expressions, quoting from classics, or imitating opera singing. , Jiang Kun's self-created "hip-hop crosstalk" has broken away from the essence of crosstalk and turned into rap. The purpose is the same, both to amuse the audience. It is not that crosstalk has no way out, but that the content of current crosstalk does not meet the needs of the audience. , can't arouse the audience's screams. Look at the cross talk actors of the older generation. The cross talk they talk about is very close to life. Now look at the current cross talk. It is getting farther and farther away from life. Cross talk itself is born out of street performance. Now push it to the category of art. If the position is too high, it will easily float!

Strictly speaking, the so-called "hip-hop crosstalk" performed by Jiang Kun, Li Ding, Jin Fei and other young crosstalk actors is not called crosstalk, but hip-hop rap wrapped in a crosstalk jacket.

Dancing hip-hop while chanting is a typical hip-hop rap technique, which has nothing to do with the art of crosstalk. Obviously, Jiang Kun only used the first half of the sentence and ignored the most critical sentence on the path of artistic innovation of "bold attempts and careful verification."

Once innovation deviates from the essence and foundation of the art, it can only be said to be cross-border, not innovation. To pass off "cross-border" as "innovation" is fraud and ridiculous.

The "learning" of the four basic cross talk skills of "speaking, learning, amusing and singing" can be cited and all-encompassing, and of course the modern "rap" art can also be included.

But the premise is that it is based on cross talk, integrated and interspersed with cross talk jokes, and the entire work appears in another art form, and it has to be called "cross talk". This is called nondescript—— I guess it was because the audience was confused.

More than 20 years ago, Feng Gong and Niu Qun had already tried to incorporate modern song and dance art into cross talk on the Spring Festival Gala stage. At that time, the audience might still find it refreshing.

After so many years, when the audience already understands what cross talk is, they still pretend to perform hip-hop and say it is cross talk. In the words of Master Ma Sanli: This is making a fool of oneself.

Perhaps, under the increasingly strong suppression of Deyun Society, Jiang Kun, as the chairman of the Music Association, wants to fight for a turnaround, but the embarrassing appearance of "hip-hop crosstalk" seems a bit like seeking medical treatment in a hurry. .

The best way to retain the glory of the past is to either retreat bravely or be as inclusive as Ma Ji was in his later years, without losing everyone's style and without having to bear too much right and wrong. It's a pity that Jiang Kun obviously didn't learn the essence of his teacher Ma Ji's life, and the result was that the scolding obscured the light.

I watched the hip-hop cross talk, and I just felt awkward all over the screen. Jiang Kun was jumping up and down on the stage very hard. Most of the audience felt uncomfortable, but they were embarrassed not to applaud. The applause is coming, but it's cheap.

After watching this video, I have strengthened my previous judgment: Jiang Kun really doesn’t understand cross talk, and he doesn’t know how to get in.

1. Jiang Kun’s anxiety

Let’s analyze his hip-hop lyrics:

The lyrics express three meanings: times are changing rapidly; generations are separated There is a generation gap; we swear we will do good cross talk.

This is Jiang Kun’s anxiety: Times are changing rapidly, and we have to catch up with young people. Therefore, we should do whatever young people like. We must integrate with them and not be abandoned by the times.

It is right to have a sense of crisis, but the key is how to break the crisis? Jiang Kun’s approach is to follow, whatever is popular now, I will follow. When television became popular, I had TV cross talk; when multimedia appeared, I launched multimedia cross talk; when hip-hop became popular, I also rapped a few lines, and even sang and danced. But the effect seems to be unsatisfactory. TⅤ cross talk directly shut down cross talk and attracted the biggest rival sketch. The multimedia cross talk launched on the Spring Festival Gala was shown incomprehensibly and then fell silent.

2. How to innovate?

Jiang Kun’s hip-hop crosstalk performance was obviously a failure, which means there was something wrong with his innovation. So, since it is innovation, are there any successful examples that we can learn from and analyze? See how others are using hip-hop to innovate.

Coincidentally, more than ten years ago, I heard a cross talk show in a small teahouse in Tianjin. It is a program created by two young actors. Their performance also borrowed elements of hip-hop, and the performance was very popular.

Their idea is to start from the characteristics of hip-hop, which is an art similar to Chinese allegro. So Tianjin Allegro is performed in Tianjin dialect, so why don’t we try it and rap in Tianjin dialect. And the rap is "Razi Song" (the theme song of the Indian movie "Vagabond").

Tianjin dialect + rap + movie theme song. The combination of a hodgepodge of local and foreign elements is reasonable and unexpected, producing a hilarious comedy effect. At that time, the audience's response was very enthusiastic and they were so happy that they jumped up and down.

So many days later, my colleagues continued to joke about this joke, performing it over and over again, and it was fun again and again. It can be seen that this innovation is deeply rooted in the hearts of the people.

3. The Law of Laughter

Someone has concluded that there are three ways to produce comedy effects. One of them is that external accidental events cause the "situation" to change rapidly, and the character's personality and the environment form a sharp contrast.

The Tianjin dialect rap above takes advantage of this rule. Hip-hop rap gives people the impression of being cool, expressionless, and foreign. The Tianjin dialect is down-to-earth, emotional and humorous. When these two are combined, the sharp contrast between the two creates strong visual and auditory stimulation for the viewer.

The reason why this creation is successful is that it first follows the rules of comedy creation and is guided by theory. Then discover the characteristics of the material, that is, hip-hop is similar to the local allegro. The coolness of hip-hop contrasts with the hip-hop of Allegro; the foreignness of hip-hop contrasts with the earthiness of the dialect; the expressionless face of hip-hop contrasts with the expressiveness of Allegro performance. The characteristics of the two can produce a strong contrast, which is a good creative direction.

4. Examples of successful innovation

So I think we cannot innovate for the sake of innovation. The creation of cross talk must be regular. The so-called innovation must also follow the laws of creation. It’s not that I am innovative, I don’t care about anything.

On the basis of a thorough understanding of the rules, study the characteristics of new forms and new themes and process them. Create comedy effects according to rules. This is the only way innovation should take.

In fact, the reason why Guo Degang's cross talk is so popular is also based on this path. He himself said that my "Dream of the Western Expedition" is the basis of an old routine, with elements of the new era added to make the audience happy to see it. The original version is "Da Bai Lang", Bai Lang is a bandit in the Republic of China.

If the original text is copied, it will be too far from the audience's life and there will be no sense of immersion. So Bai Lang was changed to a terrorist, and President Yuan was changed to the Yuyu American President.

This is actually innovation. Under the rules, new things in life are incorporated into it, as long as it is reasonable and coke-free.

Let’s look at Jiang Kun’s hip-hop performance in turn, summarizing the past, affirming achievements, and looking forward to the future. This should be a year-end summary. It has nothing to do with comedy.

If you calm down and study the characteristics of hip-hop, can you find the point of laughter? For example, hip-hop loves to be cool. Should I use a very earthy style to describe an authentic hip-hop? Hip-hop requires fast speech, should I do a stumbling hip-hop? Hip-hop is not a goal, but a tool, used to generate laughter.

5. Conclusion

To sum up, the reason why Jiang Kun’s innovations have repeatedly failed is that he did not follow the rules of creation, did not thoroughly understand the subject matter in his hand, and did not calm down. Analyze the business. Always superficial and formal. Such a performance cannot impress myself, nor can it impress the audience.