Why does Zhang Shouchen object to naming crosstalk? In the early years, crosstalk artists chose crosstalk because crosstalk can bring them money for life. Who will pay for life? Regular customers who listen to cross talk, of course. So in order to keep the audience-these parents, each of them knows a lot of jokes and has a solid basic skills.
So when you listen to the cross talk performance again, you usually look at the scene to determine what the theme is today. Let's make some small pieces of luggage first. If the audience responds well, let's talk about this theme. If the response at the scene is not good, if it goes too far, you have to change the paragraph.
No cross talk was announced. It is said that before liberation, the cross talk garden was charged in sections, and the continuation was the way of falling to the ground. The actors woke up, knocking on the wood, holding small baskets and asking for money one by one. This profit-making method attaches great importance to "gathering people", because the audience stands up and leaves, and the actors have no income, so the most important thing is to "do the work" and say cross talk to any audience.
After liberation, in Tianjin in 1950s and 1960s, crosstalk performances were still mainly charged by time, which seemed to be charged once every ten minutes, and rounded off in less than ten minutes. Although this time is much more formal than before liberation, there are still some disadvantages. If the audience is not satisfied, they will draw lots to leave. Fundamentally speaking, they should pay attention to the basic skills of actors and whether they can observe the flexible "opening point" of the audience.
Zhang Shouchen's opposition to the announcement of crosstalk was based on the lifestyle of artists at that time, and they could not change their lives after the announcement. As far as Zhang Shouchen is concerned, his understanding is correct, just as Degang Guo sometimes quipped on the stage, "A crosstalk performer must never let the audience guess, and once he guesses, he will think you are worthless".
In fact, the time charge for crosstalk is out of date. At the 7th Tianjin Crosstalk Festival on 20 16, we tried to reproduce the "time charge", but it was just a gimmick. There is a strict management system in the current performance venues, and there is a limit to how many people can enter a theater. Therefore, when an audience doesn't like a program and is ready to stand up and leave, it is equivalent to giving up their seats. So in order to keep his seat, he may not really leave, so it is no different from selling tickets.
The original intention of time charging is to reproduce the competitive mechanism of crosstalk industry in those days. The income of an actor is directly linked to the number of audiences, but this is redundant, because the competition mechanism already exists when the actor's "water brand" is announced. You can buy it by writing a certain name, or you can write a certain name without changing. In both cases, as for how many viewers there are, they may end up with more relatives.