A piece of "live"-a joke makes "live"-perform a joke
"Burden"-Joke
"Inverted Mouth"-Imitating Dialect
Suspend-rearrange
Thick skin-not easy to understand
Thin face-easy to understand
Code front end-come on
After the code-slow down.
Read-stop it.
Headcount fee
Throw a pestle-give money
Pestle-asking for money
Yeah.-just right.
Huang Tiao.-Out of tune.
Reading-not good
Make faces-facial expressions
Slam sb.' s head and throat
Round stick-attract the audience
"Burden" Point-Laughing the whole audience
Mud-the effect is not good.
Out of the way-there is a problem.
Draw lots-some spectators leave
Open the floodgates-large crowds leave.
Save your son and make him smart.-I know.
Couple Spring-Crosstalk
Single spring vertical crosstalk
Filariasis —— A joke about learning to sing
Sea-big, a lot.
A little bit.
Tough business-making more money
Brochure-script book
Wake up, wake up-wake up
Sliding contour-interesting words
Chunchun-crosstalk
Lie down-laugh!
Blunt explosion, poor effect
Get up-the audience is gone.
Sharp plate-beautiful face
Leave Sue.-Cry
You are hungry.
Read and chew-didn't eat
"Opening the door"-that is, "talking"-also played a role in attracting audiences in the old days.
"Dirty mouth"-an old rude word.
"Consigning an image on a commission basis"-a double-reed term. Behind the rap, the front face learns its movements.
"Dump the ground"
Before liberation, when performing cross talk, it was located in temple fairs, markets and streets. The actors performed on the flat ground, and some people rented tables and stools from the audience to sit on. According to the venue, the art of "falling to the ground" can be divided into three categories: the first category is equipped with shade sheds and benches; There is only one bench in the middle; There are no inferior facilities.
"miss":
Old crosstalk terms. No audience or very few,
Year of fire ":
The old crosstalk term refers to a large audience.
"Pick a cage"
In phonological jargon, those who talk about cross talk are somewhat similar to the singer's "follow the bag", but they are not exactly the same. The "heel bag" contains a corner boot bag, a suitcase with Baotou utensils, pots and pans in the drinking water field, etc. This is specially used to wait at the corner. Dressing backstage and drinking on stage are all jobs of "heel bag". Although the "cage picker" also carries a suitcase, there are props for cross talk, folding fans, handkerchiefs, bamboo boards for singing Taiping lyrics, awakening wood, drinking pots and bowls, etc. But you don't have to wait, dress and drink. People who "pick cages" should not only do all the chores of the performance, such as cleaning the venue, setting stools, fetching water and collecting money. , but also to "boss" Master, or hug or tease him, or "cushion" when Master says he is tired, tell a joke, have a stand-up comedy, or sing Taiping lyrics.
"palm rotation"
In the old society, the kind of person who called the wind and rain on the cross talk stage was called "Zhang Xuan", which was jargon. People who wander the rivers and lakes are called "Xuan", and Beijing studies "learning".
"Article 6": a special term, that is, Zilaibao.
betoken
As the name implies, need not say more?
Dig the bottom
It means telling the audience in advance what injected the author's strong wisdom, such as suspense or burden, which greatly weakened the appeal or funny effect of the work.
(of folk singers) singing or talking at high speed.
This is a fast and rhythmic performance language. There are many classic jokes, such as registration, geographical map, eight fan screens and porridge court.
The "workshop style" of crosstalk jargon is the clown.
The "measurement of work" in crosstalk jargon is also a comedian.
"Top-heavy" means that there is a primary and secondary relationship between teasing.
"Mother and son" teased the two and became an equal relationship.
"Fear of oral sex" is also called "incision". Traditional cross talk takes Beijing dialect as the language core and uses other dialects, which means "fear of oral sex". The "fear of oral work" of cross talk is to find misunderstandings caused by misunderstandings between different dialects, make fun of them, or reflect on them from irony.
Mud (Ni Sisheng) seam "
The comedian in cross talk stands among many comedians.
"Nifeng" means to fill the gap in the brick wall. As the name implies, it walks between Party A and Party B and plays a connecting role.
Liuhuohuo
Singing willow and playing willow, in short, learning to sing.
A postman who recognizes the name and address of a letter.
It means "if possible" and is very casual. Master Ma once said: "Blind throwing" is a kind of technique, which makes people listen to one side and listen to the other side, without knowing what they are talking about, as if it were possible. In fact, they are all performed by actors, but people should not see the flaws.
Diaokaner
Hanging bars are also called spring spots. In fact, every industry has its own terminology. Hanging bar is the name of people who used to eat Jianghu dishes. This term has two purposes: convenience and confidentiality. Why keep it a secret? For example, there are two crosstalk performers who want to discuss the price with a boss, but they can't explain clearly. It takes two people a few words to understand, but the boss doesn't understand. In a few words, the price is settled.
The hanging column is very simple, so there are more than 200 words in the Spring Festival, which can be said to include all eating, drinking and sleeping. For example, the language in life is very rich, saying that the food is not good is called "bad", saying that people are ugly, and saying that the product quality is not good is called "not so good". So in the Spring Festival, there are always two words * * *.
Null code
Refers to a crosstalk performer or a layman without a teacher.
striffen
Lao She once said: "When talking about cross talk, you must first hold your breath and let out a cold face. Never laugh. Moreover, we should control the audience's attention, use a clean tongue, go all out at the critical point, and resolutely burst into a punch line, and then the audience will burst into applause. In technical terms, this is called' thin skin', and it will break when you poke it.
A heavy head
A has many lines, mainly describing, introducing, commenting, explaining and imitating. When listening to the narrative, B sometimes talks with A to express his views, and sometimes asks A to explain his own problems, and more is to supplement A's arguments. Through the perfect fit of B, she points out problems, deepens contradictions, reveals the theme and gets rid of the "burden".
"Reliance on history" began in the Xianfeng period.
Crosstalk originated from the folk. In the study of its origin, we often refer to Historical Records, Biography of Funny Stories, Bianwen Singing, Joining the Army in the Tang Dynasty, Next Door Drama and other operas or historical materials to show that it has a long history and is profound.
In fact, in the 20th year of Guangxu (1894), a large group of folk artists from Beijing Tianqiao gathered outside the Palace Gate of the Summer Palace on the 60th birthday of Empress Dowager Cixi. Empress Dowager Cixi watched the performance and awarded eight of them as "Eight Eccentrics of Tianqiao". Poor but not afraid, vinegar drowns high, Li, Zhao lame, stupid king, heartthrob, Hu Huzhou, cold. Folk artists were rewarded by rulers, which was an opportunity to "get ahead" in feudal times, and their deeds were recorded.
The head of the eight eccentrics is not afraid of poverty. His real name is Zhu Shaowen, and he is also the "grandfather" of cross talk. About the origin of being poor and not afraid, it is said that he was a scholar in Xianfeng period; The more certain information is that the clown actors of the troupe are living on the streets because of the dissolution of the troupe. Holding castanets, he set up stalls in the streets, markets and temple fairs, and storytelling became more and more popular. In today's view, the behavior of being poor and not afraid is "street performer". At that time, it was "mouth-to-mouth meal"
No one has written a book about the development of cross talk, and the research on the origin and principle of cross talk only happened after 1980. The "faithful history" of cross talk is only a short century and a half from the first year of Xianfeng (1850). According to the information, one is from a field survey and dictated by an old artist; Others are extracted from limited notes and miscellaneous stories. In the process of deliberation, I was afraid to go to Zhang Sanlu, the "master", because I was poor. Since then, the so-called "eight generations of teachers" has appeared in cross talk. Here, I briefly record the representatives of the Eight Dynasties:
-Zhu Shaowen (not afraid of poverty)-Xu-Jiao Dehai, Li (a little heartthrob)-Zhang Shouchen, Chang, Guo Qiru, Ma-Liu Baorui, Zhao Peiru, Chang Bao? (Mushroom), Hou Linbao-Ma Ji, Niu Niu,-Jiang Kun, Zhao Yan, Liu Wei, Feng Gong, Xiao Lin.
The initial formation of mentoring relationship is a life-dependent relationship. A well-known artist, when performing, will get more rewards when there are many onlookers, and there are also many small beggars on the scene. Instead of driving them all away, it is better to attract friends and become strong. Later, if you have a favorite, you will be willing to accompany you to learn technology; The so-called "learning" is called "stealing" in the jargon. Master does not teach a trick and a half, but follows scholars day and night, and then uses his own talent to understand. Nowadays, most of the mentoring relationships are teachers with fine arts, and young actors are qualified and even have a good reputation. If they join a famous teacher and form a family, the romantic meaning is far greater than the actual study.
Crosstalk has changed from a street performer's skill to mass entertainment, and then refined into a performing art. From the change of performance space, it can be said that the development of cross talk has gone through "stall period", "teahouse period" and "theater period"
Wei Longhao and Wu, the most influential crosstalk performers in Taiwan Province Province, were both "young masters" when they were young, and they were both audiences. After coming to Taiwan Province, you can get in touch with Baoze's feelings by performing cross talk, so as to solve homesickness. In the future, with the development of the media, cross talk will be promoted to all-round entertainment, which is an opportunity given by the times. Wei Longhao's real name is Su Wei. In order to find his brother who lost contact in the war, he took his own name as his stage name. Mr. Wei has never been a teacher in his life. It was in 1982 that Wu and Hou became apprentices. At that time, Mr. Wu was nearly 60 years old and had already become famous all over the world. Being a teacher is romantic, which means respecting tradition.
"Liugong" sings with his mouth open.
Crosstalk is different from traditional Chinese opera. It has a fixed body program called "hand, eye, body, step and method" to follow. The position of crosstalk performance, especially the body movements quoted from China traditional opera performance, is called "leg work" in traditional terminology. "The legs of singing opera, the mouth of cross talk." Don't crosstalk performers have to move their legs when they are going to sing?
The singing method of "wickerwork" is often compared with "Leg Method", which means "Singing with your mouth open". Among the local operas in China, there are so-called "Nankun", "Beiyi", "Liu Dong" and "Xibo". "Six" in "Six Livelihoods" does not necessarily refer to Lu Opera, but generally refers to singing skills. Singing, reading, doing and playing in Beijing Opera performance is a complete and mature technical model. Crosstalk, which originated in Beijing, will naturally be attached to Peking Opera or dragged into the water when it is performed with "Liu Gong" and "Leg Gong", thus producing a large number of jokes that simulate and satirize Peking Opera works and famous actors.
The practice and performance of "Liu Gong" and "Leg Gong" involves the accomplishments of actors in many operas and genres, which is very difficult for previous actors, because opera is popular music in the past and everyone is catchy. For modern people, especially amateurs, it has become a considerable problem. Many people don't touch this part at all and ignore these two technologies.
Some people interpret "Liugong" with modern pop songs, while others imitate the voice of famous singers. Sacrum? 15% off? What's the matter with you? What about cadmium? Bao Xian is private? Crispy curtains? Will grasshopper guanidine tremble when its lungs are broken? Umbrella? /p & gt；
Taiping lyrics are rhyming ballads, with singing in the middle and clapping for the festival. It was originally a kind of "beggar song". The ancestors of the crosstalk industry were not afraid of poverty. When they performed "Sha Shu", they held Sasha in their hands and read Taiping lyrics in their mouths. The word "Taiping Lyrics" was given by Lafayette after the Western Pacific. Grandpa's unique skill was later regarded as the basic skill of practicing "Liugong" by crosstalk performers. According to my experience after my internship, the purpose of singing practice is not only the exercise of vocal cords and the experience of China traditional opera forms, but also the extensive understanding of rhythm and sense of rhythm, which is indispensable for an actor. The formula of Taiping lyrics is "four-tone singing", which is worth pondering and gaining enlightenment.
The skill of joking with the mouth.
Language is the tool of crosstalk performance. "If a worker wants to do a good job, he must sharpen his tools first." When the predecessors mentioned "language art", I think they were emphasizing the necessity of practicing oral kung fu diligently, not defining it. The so-called "one dog with one mouth lifts the curtain" is the most heartless misunderstanding of crosstalk performers. It seems that as long as two pieces of mouth are cracked, you can say cross talk? This is a big fallacy. It's a pity that some amateurs spoil themselves with this misconception. No wonder they are despised.
Traditional crosstalk emphasizes several oral skills: first, "oral". Literally, it is not difficult for us to understand that "consistent" means consistent. Many strings are put together, and after skillful processing, they produce a quick and crisp effect and melody charm, which is equivalent to tongue twisters, wisecracks and counting treasures. Traditional cross talk, or occasional cross talk, also has a whole paragraph mainly based on "infiltration". For example, registration, pumpkin darts and eight fan screens are all penetrating classics with accurate words and full implementation. Performers recite words, breathe in unison, hold hands and tease each other, and the sentences are stacked like duets.
And it is "timid work" and "incision". Traditional crosstalk takes Beijing dialect as the language core and uses other dialects, namely "incision". The vast territory and regional division are the main reasons for the wide variety of Chinese dialects, and the psychological barriers caused by accent differences are also competing with Dashan. The "job of being afraid of speaking" in cross talk is to find the misunderstanding between different dialects caused by mispronouncing and misreading, make fun of it, or reflect on it from irony. Southern accent and northern accent, drama and dialect are the most successful jokes.
The word "cross talk" refers to the funny folk art formed in Beijing, but it is not absent elsewhere; There are "burlesque" and "one-man show" in Shanghai, and "response drums" in Fujian and Taiwan Province provinces. The two are not exactly the same, but the difference is really not big. They are all developed in their native languages, and speaking is the basic form of comic performance. There is also a performing art duet that develops synchronously with cross talk: a person's mouth-to-mouth at the dinner table is more like a painting, called "selling head" or "selling head"; Another person hides behind a desk and simulates all kinds of words and sounds. This is called "voice". We can regard this as the disassembly and reorganization of "phase" and "sound".
The word "learning" of "speaking", "learning", "teasing" and "singing" can be said to be an imitation of sound or language form, or a ventriloquism. This is technical work, hard work and external work; However, if the cognition of cross talk stops here, it is self-limited. In a broad sense, learning refers to the simulation of personality and life, which is the exercise of internal strength and "qi" and "quality" Strange sounds may be interesting, but they are never as good as humor from the inside.
Hehe, the two generals will tease.
China people attach importance to the relationship between husband and wife. In the tradition of culture, novels and operas, there are often pairs of partners: two generals in the list of gods, Yang Jiajiang's He, Bao Gongan's dynasty and Mahan, and even clairvoyance, black and white impermanence, cow's head and horse's face, all born together. Perhaps it is this potential psychological reason that makes the cross talk between two partners become the representative form of cross talk art.
Crosstalk is also called "funny". According to modern people's understanding, it refers to the speaker; On the other hand, people who help others are called "people who measure their work" and "people who support others". Under the performance form of "plunge into it", the relationship between teasing and teasing is primary and secondary; In the form of "mother and child", the two have become the same weight.
Traditionally, praising and teasing two people are regarded as wise men and fools, the speaker as wise men and the helper as fools. A wise man says amazing things, but a fool plays with him. But we might as well look it up: the so-called wise people often make mistakes. Although a fool has correct knowledge, he is fooled if his brain is too slow. Therefore, a clever and stupid statement already contains irony in concept. Think about it, if a smart person has a glib tongue and conveys the right ideas, then he will become a successful teacher, not a crosstalk performer.
There is also a formula that says "three points are funny, seven points are holding", which is just the opposite of the cognition of the seriousness of the play. Judging from the number of lines, the speakers are the majority, and the helpers just chat and ask a question at most. Why do you say he is a "seven points"?
The rhythm of cross talk performance is very important. Chatting is a common thing, and everyone knows it. Why can two people stand up and perform and chat in front of everyone? Because they talk well. To put it bluntly, the art of cross talk is precisely processed chat, and the processing means is the musicalization of language. To put it simply: just like a song, the language is a note and the bar is a bar. If there is no limit to a series of notes, there will be no "breathing", which will not only hurt the listener's ears, but also be confused sooner or later. The chorus of clappers makes a good plan for teasing a wonderful string of notes, which makes the focus just right, and the contrast between plain narration and climax is enhanced, which is no longer just an ordinary chat. What's more, there is also a "phase"-the expression of body, expression, orientation and emotion-which is a mess without rhythm processing.
Performers master not only the rhythm of ridicule, but also the bridge between the stage and the audience. We can even boldly say: the representative sent by the audience to the stage, he asks questions for the audience, and also tries to figure out the size of breathing and laughter for the audience; Therefore, the "quantity" of "measuring work" is a quantity, and the conditions that a performer must have are calmness and intuition, which can only be found in experience. Among the traditional crosstalk artists, the comedian is often younger than the comedian, who is the predecessor and even the master of the comedian.
In addition to the depth of qualifications, the basic conditions of performers are also different, such as face, fat, height, voice and even attitude and personality. An original performer may be teased by changing partners, while crosstalk performers have been looking for or relying on the most suitable "other half" all their lives, and it is really hard to achieve the realm of "never leaving the scale".
In traditional crosstalk, there are certain rules for the position of actors standing on the stage; The stage is centered on the table, standing directly behind the table and standing on the right side with a smile. According to the position of cross talk, we can see the comedian's whole body, while the comedian's lower body is covered by the table. What is the reason? Crosstalk was originally performed only outdoors. After entering the theater, the topic often revolves around "drama", such as "Drama Miscellaneous Talks" and "Guan Gong Zhan Qinqiong". Where to talk about where to play. It is not difficult to understand the principle of the position of two people standing when they stand steady and amused all over the sky.
In addition to holding and teasing, adding a third actor becomes a cross talk. This third kind of person who participates in teasing is called "Ni", which means to fill in the cracks in brick walls. When there are more than three people performing cross talk, it is often a group of comedians, circling around a mud crack, and his function is also equivalent to a comedian.