Eighteen ways to shake the burden

Guo Jundegang's cross talk baggage frequency and clever use of baggage are rare among contemporary cross talk actors. Its techniques are varied and eclectic, which was explored by Degang Guo from the essence of traditional cross talk combined with ten years' stage performance practice. There are about 2 kinds of cross talk's baggage techniques, among which Degang Guo mainly uses 18 kinds. Here, I will give an example to chat and listen to the criticism and advice of many tightrope and cross talk lovers. Praise people or things, and then talk suddenly, and dig to the end. Because the effect is unexpected, the site effect is often particularly good. How can Degang Guo miss this method of thinning the bag skin? This method is also one of Guo's main ways to shake the bag. There are two ways of expression in this technique, one is to suppress before promoting, and the other is to promote before suppressing. The former is mostly used on oneself, while the latter is mostly used on the bearer or the person who hangs it. First suppress, then promote, as in "On Dreams", after describing the cross-talk actors such as Yan Ye's clapping:

A: Yan Ye finished Wang Wenlin and Li Jing, shouting: Is there another Degang Guo? Bring it up, you two sides, swords, halberds and volcanic oil pans are ready!

b: you are better than us.

a: I'm miserable. When I came up, I stared at me: Is your name Degang Guo? I said it was me. Oh, dare to say cross talk? That's a lot of ability. How dare you talk alone? You must be crazy! Fight! Sword, spear and halberd together! (suppression)

b: hit hard!

a: no, Lord Yan, please give me a chance and I'll change it later! You can change it if you say so! Can you change it? I can change it! ..... to move a stool and let him sit down. (yang)

b: so we won't fight?

a: I can talk ... sit down. The terrifying handed me the tea bowl-here, you drink mine ... here, you order a rib ... (Yang)

The terrifying in front wanted to "beat hard", but later, "moving a stool, handing tea and lighting a cigarette" was Yang, which was not only in contrast to the change of his own situation, but also with the "beaten" characters such as the gang described above.

Guo's crosstalk can be found everywhere, for example, in "Fu Guitu":

A: Mr. Zhang from Zhang Wenshun, an old artist, has been in the crosstalk circle all his life ... (Yang)

B: I'm flattered ...

A: Recently, we will hold a large-scale commemorative event to celebrate the crosstalk performance.

A: Mr. Zhang was in poor health a while ago, and he recovered recently, which is a blessing for our music industry. Fortunately, he was not seriously ill, and he suffered from three minor disasters ... (Yang)

B: Yes.

A: SARS, AIDS and cancer ... (suppression)

B: None of them can survive ...

"Suppression first, then promotion" is very similar to the following "Three transgressions and four tremors", and both of them have to make a burden through a sudden turn of conversation, but the former has a wider scope to use, unlike "Three transgressions and four tremors", which has certain requirements on the format of the burden. This is an "eight-part essay" in the cross talk baggage, which has a relatively fixed pattern. The method adopted is to guide the audience's auditory inertia, repeatedly emphasize an idea or intention of teasing for three times (there are also two times, at least more than four times), and turn back on the fourth time to expose the original intention of teasing with a sudden effect. For example, in Yang Naiwu's Description, Guo describes that when the father of the champion took part in the national Wushu competition:

A: Your father asked his apprentice to change clothes and bring me my red clothes ... for good luck? No-you can't tell when you're finished with blood ... How crazy! You must know you can hit people! (some)

b: he doesn't know that he can't tell when his blood is spilled!

a: he has never lost! Go up to table tennis and beat someone up, splashing blood all over. Come down and change into a suit. It's my turn to get a red jacket ... (twice)

B: Another red one.

a: I won again later. When I get down, I'll change to a red one! (Three transgressions)

B: It's all red. Why bother?

a: did you win? it was all blood. Then another big one, 1.9 meters, is very strong. When your father saw it, he said, ... Bring me my yellow pants! (Four Shakes)

The first three times of "Three transgressions and Four Shakes" must be smooth and stable, otherwise the audience will easily notice it. After detecting the intention of the performer, no matter how "fan" it is. Therefore, Degang Guo, who is known for his unexpected baggage, rarely uses this kind of baggage technique unless he is sure that the result of the "four shakes" will be covered up before it comes out and will be unexpected after it comes out. For example, the "red jacket" and the "yellow trousers" in this cross talk are absolutely ingenious and rare. Master Hou's "Rules" is the most classic joke about breaking the rules. Degang Guo also makes good use of this way of baggage. For example, in Master Jing, the description of the mother who sneaked into the bedroom to kill her family:

A: Your mother gave her left hand ... All the relatives lying on the kang were unbearable ...

B: That's not ...

A: This is Yu Qian, her son; This is his wife; This is the daughter-in-law ...

B: Hey ... Stop it ... Don't sleep like this, you know?

a: what about the house decoration? it's crowded on a kang. Nothing, it's separated by a curtain ...

B: It's ok to have a curtain.

a: ... separate Yu Qian ...

b: separate me? Is it ridiculous ...

The so-called routine must be familiar to everyone. For example, Guo once used "Yu Qian's fathers" and "Yu Qian's father, Father Wang" and so on. On the contrary, if it is too professional knowledge, even if it violates the rules, ordinary people simply don't understand it, and it will not achieve the purpose of making people laugh.

4. Misinterpretation and self-righteousness:

In traditional cross talk, there is a saying that "you can't laugh if you don't think straight". That is to say, we misrepresent or misinterpret some common sense that we are familiar with, and strengthen it with an authoritative tone and an unquestionable tone, thus creating a burden. For example, the "classic" description of Liu Bei crossing the river in Yellow Crane Tower:

A: Wu invited Liu Bei to cross the river, but he didn't want to go. Zhuge Liang asked him to go, so Liu Bei went. Let's go!

B: Ah ...

A: Walking, ah, there is a question mark in front, Liu Bei jumps, and there is a mushroom! Eat this mushroom, Liu Bei has grown up! Further on, there is another question mark. When you touch it, a flower appears ... After eating this flower, Liu Bei can shoot bullets as soon as he raises his hand "toot toot toot toot toot toot toot toot toot toot toot toot toot toot toot toot ... < P > B: All right, all right ... Besides selling steamed buns, you are super Mary, right? ......

"crooked talk and misinterpretation" and "violation of convention" are very similar in organizational techniques, even the same vein, but actors must use them differently in different contents-"crooked talk and misinterpretation" requires the performer to talk nonsense with the face of "ignorance and fearlessness", that is to say, he wants to give the audience the impression that he really doesn't understand rather than pretend to be stupid, mostly for the purpose of self-mockery; On the contrary, the performer is obviously a "smart person" who plays dumb with understanding, mostly to satirize others. It is to violate the law of things and exaggerate something arbitrarily, which makes people hard to believe. This kind of baggage should be properly sized. Once it is suspected of "idle nonsense", it is not common in cross talk jokes. Guo Degang, however, not only uses it more, but also uses it well. For example, in his masterpiece "Xizhengmeng", he introduced the tone of cross talk into the atmosphere of boasting and dreaming of Nan Ke from the very beginning, thus making the baggage in this work produce an excellent effect of "the more absurd, the happier". As he described it after entering the White House:

A: When I went in, I saw a pool of lime, a rockery, and a slogan-Family planning is everyone's responsibility ...

B: Did the White House put this up?

A: On the left is a big shed with bicycles lined up one by one and an old man with a red hoop strolling back and forth ...

B: Why does this place sound familiar?

A: Members of the Senate and the House of Representatives greeted me on the steps. They were very happy to see me, and greeted me: I'm here ... Please come inside ...

B: You didn't shout to take off the basket? ..... What happened to the bathhouse?

a: I asked where the president was in. In that room. Pushing open the door and staring at each other, Bush was very excited ... Why did you come here?

B: Er ...

Absurdity is similar to "unconventional" and "distorted explanation", that is, jokes are produced through unreliable and absurd descriptions. However, there are also differences between them-the latter two must correspond to the established "conventional" form, which can be understood and mastered by the audience, while the former has a wider application range. As long as we grasp the degree, we can make the past serve the present and make foreign things serve China, and we can also go to heaven and earth and die hard to surpass the imagination of the audience. When the truth comes out, it is often very funny. Degang Guo is very good at using this kind of baggage, and the plot and language designed are in perfect harmony, which is reasonable. Often all the audience are put in, and when the answer is finally cracked, everyone often laughs and admires.

I'm afraid it's far-fetched, but it's unexpected and reasonable. It is acceptable for people to go to the bathroom by mistake. If they get on the spaceship by mistake, I'm afraid they can only dream it out. When the narrative is deliberately foreshadowed, it makes people inexplicable or even unbelievable, and then skillfully finds the right answer to convince people in laughter.

The premise of "false information" and "mystifying" is to set a false scene, but their role forms are very different-the former teaser appears as an uninformed person when describing the false scene, while the latter teaser speaks as an insider when describing the false scene. The use of puns in the narrative process creates a "burden" that the audience can understand. Degang Guo's ability in this respect can be said to be unparalleled in the cross talk circle. For example, in Da Shang Shou, when the mother said that she had a big white cat:

The difference between this technique and the homophonic illusion is that the burden of homophonic illusion needs to be explained afterwards, otherwise it is difficult for the audience to understand the original meaning of the word. Punning is to wake up the audience with the burden and immediately make the audience laugh. One party reveals flaws, and the other party pursues them hard, which makes the other party unable to justify itself and can create a good burden effect. In traditional cross talk, "Bell Dangpu" and "Bargaining" are typical masterpieces. In Degang Guo's cross-talk works, the phenomenon of cross-examination and clapping is rare, and more often, it is a teasing and self-contradictory, so it is in an embarrassing situation of being questioned.

The most important thing in this performance method is that the actors of both sides should pay attention to the performance rhythm. At the beginning, the questioner should show a state of playing hard to get, or temporarily don't understand. When the questioner gradually finds it difficult to justify himself, he will start chasing after him until the other side is completely exhausted, angry from embarrassment or forced to admit defeat. As soon as the questioner comes up, he will be adamant and put on a condescending posture, which will greatly weaken the expressive force of this kind of baggage technique. When the characters in cross talk (mostly A) are passive in the description of an argument, they take a disapproving attitude towards other people's problems, opinions and opinions, and turn away from the customer, trying to avoid sophistry with a face that is almost rogue, until they come to an end with the other party or themselves.

"Arguing irrationally" and "getting to the bottom of the matter" have the relationship of unity of opposites, both of which are caused by disputes caused by one party leaking a flaw, which causes jokes. The difference between them is that the latter has the initiative in the hands of the heckler, and the questioned person is always in an embarrassing situation and looks around. It seems that there is still room for defense and escape, but in fact it is becoming more and more passive. The former is a "cross the rubicon" or even a "desperate" reaction of the questioned person in no way back. In the end, which method to choose depends on the extent of the realistic scenes conveyed by the two people in the works in their performances. Only when it is unreasonable and cunning, it is suitable to use the method of "arguing irrationally", otherwise it will give the audience a stiff feeling of "tickling people" and lose the proper charm of the comic dialogue role. Boasting is a common method used in cross talk, which can be divided into two ways: touting and boasting. The former is to say good things according to the situation, to show the hypocrisy and flattery of the characters by flattering the handmaiden or a specific role, and to make the audience have a ridiculous burden effect from contempt. Degang Guo basically didn't take this approach, because his partners basically "struggled for survival" under his "smashing and hanging" offensive. Therefore, in touting the use of this method, Guo still uses the way of "boasting" to be more handy. Whether he is complacent or arrogant, the audience can't help but laugh. Such a burden can be found everywhere in his jokes.

As for "Selling Hanging Tickets", it is said that Guo Niangao is going to sing a play, Wuhan is empty, Shanghai audience is crying on the Huangpu River, and bin Laden is coming to join in, etc., and everyone is more familiar with it. This kind of baggage shakes and you can't leave the plane, that is, it denies the boasting content. Some people can't justify themselves, and some need to "sell" or "kick" without losing the opportunity to expose the bragging face of the teaser. You can't always just blow without planing, otherwise the audience will be tired. Just like blowing a balloon, it is bound to explode to a certain extent. It depends on the skills of crosstalk writers and performers to master when to "explode" and produce jokes. This is a learning word in the "talking about learning and singing" of cross talk. Let's start with "cross talk". The bifurcation theory uses the technique of interrupting, and it suddenly occurred to me in the process of learning. It makes people feel that the cow's head is not right. Cross-singing is when imitating opera and singing songs, or changing the lyrics, resulting in a burden. This kind of baggage should not only be imitated in a good way, but also inadvertently go sideways and create unexpected effects, rather than relying on grandstanding and gaffes to gain cheap laughter.

let's talk about "parody". This is the kungfu of imitation show, which mainly imitates people with specific objects. Degang Guo is very good at this, not only vividly, but also likes to use exaggerated methods to enlarge the characteristics of imitation characters, and even become the symbol of this character, so he can make familiar audiences happy. For example, in "I want to go to the Spring Festival Evening", I imitate Feng Gong's sentence "Audience friends, I miss you so much"; Exaggerated imitation of Jing Li's intonation "My God, it's so exciting!" ..... and so on. Slang is a kind of language art circulating among the people. Popular and lively, vivid, humorous and intriguing. In the process of cross talk creation, on the one hand, we should actively draw nutrition from real life, and eagerly collect similar classic quips as our own cross talk materials. At the same time, we should proceed from life, constantly process and create new slang words, and enrich them into cross talk works, just like a clear dish in a big dinner. Although it may be just a few words, it may make people memorable. Degang Guo's talent in this field can be said to be unparalleled in the current phonology circle, and has even been compiled into "Degang Guo's Quotations" and widely circulated.

This kind of slang is often on a first-come-first-served basis, and whoever performs it first will be counted. It is unlikely that other crosstalk performers will copy it, because the original version will be very impressive, and the use effect of "pirates" will not be very good, and it will even give people the feeling of picking up people's teeth. Therefore, it can be branded as a distinct performer.

The organizational techniques of the above-mentioned baggage are all in phase.