Are crosstalk actors not talented and reliable?

The list of crosstalk actors included Wu Nanyan and Wang Zhibo.

The following is the current situation of some crosstalk actors: - Zhang Yunlei: He used to be the best in the "cloud" calligraphy section of Deyun Society. He became popular with his outstanding crosstalk skills and idol looks. His performances were full. He integrated traditional crosstalk with pop culture, attracting many young audiences. However, in 2019, he made fun of the national disaster such as the earthquake in Sichuan during his performance, causing strong dissatisfaction. He was named and criticized by many official media, and his acting career suffered a heavy blow. The performance was suspended and the endorsement contract was terminated. In 2020, he began to transform the music industry and released the single "Exploring Qingshui River". However, the negative impact of the "overturned" incident was still there, and the road to transformation was difficult. - [Teacher Deng Deyong of Deyun Society: Unfortunately, he has passed away.] He had a high status and great influence in the crosstalk world. He was the " second disciple of Zhang Shanzeng " and a member of the Beijing Folk Artists Association. He was related to many performing arts. He had won the first prize in the Beijing Mandarin Competition, published a large number of works in newspapers, and was invited to perform at important national meetings and diplomatic events. He combined traditional folk arts with modern elements and made a great contribution to the crosstalk world. His death caused many actors in Deyun Society to send articles to mourn. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>

The income of crosstalk actors varied greatly. When the old society entered the new society and became a national literary and art worker, the salary level of the crosstalk masters was affected by the level. For example, in 1956, Hou Baolin of the Central Radio Rap and Rap Troupe (Level 1, 340 yuan), Ma Sanli of Tianjin (Level 3, 253 yuan), and Liu Baorui of the Literature and Art Level 6 (170 yuan). Their income was affected by factors such as family size. Although some had high salaries, they became the "moonlight clan". At that time, the salary of Peking opera masters was relatively higher. Mei Lanfang had more than 2,000 yuan per month. Ma Lianliang, Qiu Shengrong, Cheng Yanqiu, Zhou Xinfang and more than 1,000 others. In terms of the income of modern crosstalk actors, the income of actors in Deyun Society varied. For example, Guo Degang's income was relatively high, and the box office income of commercial performances could reach about 36 million yuan; Yue Yunpeng's income was about 27.5 million yuan; Yu Qian's income was about 15 million yuan; Sun Yue's income was about 7.6 million yuan; Guo Qilin's income was about 1.2 million yuan; The income of sesame seed cake was about 1.4 million yuan; the peak income was about 2.3 million yuan; He Yunwei's income after leaving Deyun Society was about 5 million yuan. The younger generation of crosstalk actors, Li Yinfei, was in the middle of the industry. His annual income was around a few hundred thousand yuan. A slightly better actor could earn more than a million yuan a year. Top actors like Guo Degang had even higher income, and this was only income from performances, not including other income. In addition, the monthly salary of female crosstalk actors in Deyun Society ranged from 6,000 to nearly 8,000 yuan. There were also year-end bonuses and other benefits. It was mentioned that working in Deyun Society might cost 50,000 yuan per person. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>

Crosstalk actors usually perform as the speaker, and their language has the characteristics of dialogue (question and answer). Their performance styles were often playful and interesting. For example, the crosstalk actor He Kai of the 1980s was free to express his performance style. He was both good and evil. He was steady and generous, but not explosive and crisp. He was humorous and lively, but also full of culture. His original crosstalk works were highly recognized and praised by the industry. Li Jianhua also showed his unique charm on the crosstalk stage. He cooperated with many famous artists and contributed popular works such as "Two Fifty Cents" and "Such Advertising," creating vivid images of small characters with a simple and natural performance style. There were also many crosstalk actors who created playful and interesting performance effects through humorous language, exaggerated performances, ingenious baggage shaking, etc., bringing joy to the audience. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>

The comedy performances of crosstalk actors had their own unique characteristics and requirements. In terms of performance style, crosstalk actors could perform comedy in many ways, such as being handsome, selling, strange, and bad. Their goal was to make the audience smile and enjoy both physically and mentally. However, too high of a face could sometimes distract the audience from the performance. An actor who was too handsome could easily make the audience lose their focus when performing a segment depicting a small character. In terms of performance style, crosstalk emphasized on learning to tease and sing, relying on the actor's eloquence and improvisation. However, in the current environment where comedy forms were diverse, crosstalk actors faced some challenges and opportunities. Compared to the new comedy (which paid more attention to the plot setting and performance skills), the slow laying of the foundation and the long-term burden of crosstalk might not be in line with the taste of the modern young audience (who were fed by fast-paced content such as TikTok Fast Hands and pursued fast-paced, high-energy jokes). In order to adapt to the new comedy ecology, crosstalk actors could make breakthroughs in the following areas: 1. Preserving the characteristics and innovation co-existed. Just like the improvement of Mapo Tofu, it was necessary to preserve the essence of crosstalk (such as the techniques of talking, learning, teasing, and singing) and carry out innovation on the basis of integrating modern elements so that the content was closer to the lives of young people. 2. Borrowing from other comedy forms: Just like how a master could learn from the strengths of hundreds of schools, crosstalk actors could learn from the strengths of talk shows, impromptu comedies, and other forms to enrich their performances. For example, some crosstalk actors tried to cross over to do talk shows. 3. Cross-border cooperation: The cooperation between crosstalk actors and other comedy actors such as talk show actors may create different sparks, which helps attract more different types of audiences. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>

The local crosstalk actors in Guangzhou include Chen Jianxiong (December 11,1970-October 15,2022), a national first-class actor and head of Guangzhou Crosstalk Art Troupe before his death; He Baowen, born in August 1944, male, from Shunde, Guangdong Province, a member of the Communist Party of China, college degree, famous Cantonese crosstalk actor, national first-class actor; Huang Junying was a famous Cantonese crosstalk artist and a national first-class actor. He enjoyed special government subsidies from the State Council and won the Guangdong Province Literature and Art Lifetime Achievement Award. He had been in the industry for 73 years and had created and starred in hundreds of Cantonese crosstalk works. In 1983, he led the establishment of the Guangzhou Crosstalk Art Troupe with other crosstalk actors. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>

In the field of crosstalk, there were actors who were innovative and incorporated rap elements into it. For example, Jiang Kun performed a rap crosstalk at Central TV. He brought four young crosstalk actors and sang a rap that was similar to a doggerel. The content involved the young crosstalk actors and his own expectations for the development of crosstalk, as well as ridiculing his own classic work. There was also An Dong from Guangdong, who wrote a folk art rap song," Guan Tong Hand in Hand, Happiness's Art," which was also a manifestation of crosstalk actors 'creativity in rap. These innovative forms demonstrated the attempts of crosstalk actors to seek breakthroughs in traditional art forms, adapt to the needs of the times, and attract more audiences. However, there were different views on the effects and acceptance of such innovative forms. Some were considered novel but not funny enough, while others were recognized by the audience and brought a new atmosphere to traditional crosstalk. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>

Crosstalk actors needed to have cultural attainments, but " competing in culture " was not the only competitive factor. On the one hand, crosstalk actors needed a certain amount of cultural reserves. Crosstalk was a type of language art. It focused on talking, learning, teasing, and singing. It grew up in the marketplace and was targeted at the grassroots. In the performance, actors had to attract the audience by speaking, reciting poems, telling cultural stories, etc. For example, Guo Degang showed his ability to quote classics in crosstalk and personal storytelling. The limerick he occasionally wrote also reflected his cultural foundation. Moreover, actors also needed to have a deep understanding of traditional culture and social phenomena in the process of creation. Only then could they deeply convey the positive energy of society, criticize social ills, and promote truth, goodness, and beauty in their works. All of this could not be separated from the support of cultural knowledge. On the other hand, acting skills were also crucial. Actors needed to have the ability to shake the baggage, grasp the rhythm, and cooperate with their partners. For example, in cross-talk, the tacit cooperation between the supporting and teasing men had to react in time according to the performance of the teasing men. For example, when the baggage was thick, it would ask questions on behalf of the audience, unwrap the baggage, and explain the beauty of the baggage when it rang. At the same time, an actor's personal stage charm and ability to adapt on the spot would also affect the performance. In addition, in modern society, crosstalk actors 'business operation ability and innovation ability also affected their development. For example, Guo Degang led Deyun Society to actively innovation, combining modern elements to launch many popular works. He also devoted himself to public welfare and cooperated with the media to launch crosstalk variety shows. He played an important role in the inheritance and development of crosstalk. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>

In the old society, some people thought that it was wrong to call crosstalk actors businessmen. Instead, they should be called " acquaintances." Nowadays, crosstalk actors also existed in many situations. Some crosstalk actors had started to switch careers to live broadcasts in order to support their families. This could be seen as a business activity, but crosstalk actors were also artists. They inherited the art of crosstalk and performed crosstalk performances. They could not be simply defined as businessmen. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>

The overseas performances of crosstalk actors had many meanings and situations. In the winter of 1984, the China Quyi Rap Troupe, led by Hou Baolin, visited the United States to start the journey of crosstalk art to the world. The visiting group had a diverse lineup, including famous crosstalk artists, Jingyun Drum, Plum Blossom Drum, Pingtan, and other artists. The tour footprints covered five major cities in the United States, including New York, Washington, Los Angeles, San Francisco, and Seattle. Guo Degang led Deyun Society to tour overseas many times. The first stop was London, England. The participating actors were not bad, such as Guo Degang, Yu Qian, Gao Feng, Luan Yunping, Meng Hetang, Zhou Jiuliang, Zhang Jiuling, Wang Jiulong, and Hou Zhen. This overseas performance was more compact except for the London station. Eight performances in seven countries were packed for a month, and the effect was good from the number of live audiences. Later, the "New Video" account of Xinhua Agency issued a notice affirming it, saying that the overseas tour of traditional crosstalk reflected the significance of China folk arts going abroad. Yue Yunpeng of Deyun Society had also led overseas commercial performances many times, such as five performances in North America. The distribution of personnel was balanced, with newcomers and seniors. These overseas performances not only demonstrated the charm of crosstalk, but also reflected the existence of traditional arts in the overseas market, which was conducive to the development and inheritance of traditional arts. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>