Does anyone remember Cantonese crosstalk?

Discover talents in Guangzhou and Buddhism

In order to carry forward Lingnan culture and inherit the talents of Cantonese crosstalk language and a

Does anyone remember Cantonese crosstalk?

Discover talents in Guangzhou and Buddhism

In order to carry forward Lingnan culture and inherit the talents of Cantonese crosstalk language and art, the "Huang Junying Art Center" founded by the famous Cantonese crosstalk master Huang Junying has promoted the "Cantonese crosstalk into the campus" activity in Nanhai, Foshan in recent years. As the best partner on the stage, He Yi, a national first-class actor, has done his best to cultivate Cantonese crosstalk talents.

Ho: In the 1980s, Cantonese crosstalk was a flourishing art, which was deeply loved by adults and children. Almost every theatrical performance has Cantonese crosstalk performances, and many performers even ask us for advice. However, with the rapid development of society, people's entertainment methods have changed. In addition, those who loved Cantonese crosstalk in those years were getting older and older, and the new generation didn't know much about Cantonese crosstalk, which led to a gradual decline in attention and weak development. 20 14, Huang Junying Art Center settled in Nanhai, Foshan. 20 19 Guangdong Chinese Culture Promotion Association set up the "Cantonese Crosstalk Development Fund" to carry out the "Cantonese Crosstalk into Campus" activity, bringing the popular cross talk works in Huang Junying to the campus, showing and cultivating children's interest and building their confidence in traditional culture. Through the activity of "Cantonese Crosstalk Entering the Campus", starting from the artistic foundation, paying equal attention to theory and practice, Cantonese Crosstalk Contest will be held in Guangdong, Hong Kong and Macao on a regular basis to find more successors.

▲ Huang Junying (left) and He Baowen (right) are the best partners on the stage.

Voice screen: What are your unforgettable feelings at the event site?

Ho: I'm glad to meet some children who are interested in cross talk and full of potential, but the number is very small. After all, they are just getting started. At present, most of them are reciting. When they see our work, they will imitate the performance, but they lack a little charm. We hope that they will show more possibilities in the future after training.

Voice screen: At the end of last year, at the launching ceremony of the Cantonese Crosstalk Development Fund and the Cantonese Crosstalk Campus Performance Report held in Guangzhou Cultural Park, most of the children who participated in the performance came from Nanhai, Foshan. Are they more enthusiastic than local children in Guangzhou?

H: This is one of the achievements. Over the years, the activity of "Cantonese Crosstalk into Campus" has been held in Nanhai, and talents have been discovered through several competitions. Thanks to the strong support of the local government's cultural and educational departments and parents, more young people are exposed to traditional culture. This year, we plan to extend our activities to the university campus in Guangzhou, set up a teaching and research team for Cantonese crosstalk, compile and print several brochures and teaching materials for Cantonese crosstalk, covering all aspects such as meaning and technology, and establish a standardized system for cultivating young people's art, so that more people can intuitively understand crosstalk.

▲ He (left) guides children in the activity of "Cantonese Crosstalk into Campus".

Take the initiative to visit Huang Junying.

He, a native of Shunde, Guangdong Province, began to participate in amateur crosstalk creation and performance from 1972, and formally joined Guangzhou Crosstalk Art Troupe to perform professionally from 1983, and received careful guidance from. He said that he was eager for acting since he was a child. He loved acting when he was a student, but it turns out that his wish at that time was to be a movie actor when he grew up.

Ho: Since primary school, I have enjoyed performing and watching movies. I tried to go to the theatre in my spare time and ran back to school immediately after watching it. Gradually, I am full of yearning for the career of film actor. When I was at school, I once participated in a drama performance. I will write down the lines in the movie with my notebook, and then find some good classmates and assign roles to perform together. It's funny to see two senior brothers performing cross talk in the north at the cultural performance in high school. In the second year, I wrote a cross talk script of campus life with my classmates. At that time, we knew nothing about "baggage", "teasing" and "holding", but we were still recommended to perform in the school on behalf of the class. It was an unforgettable experience.

After graduating from high school, he Bowen decided to take up acting. He had planned to go north to study, but after seeing the enrollment requirements of Beijing Film Academy, he felt that his self-esteem level was not up to standard. When interviewing for the Guangdong Puppet Troupe, he also voluntarily gave up the exam because of his height. However, these opportunities have not dampened He's enthusiasm for performing.

Ho: At that time, I would never miss the opportunity of acting. I often go to Guangzhou Cultural Park, Guangzhou Youth Cultural Palace and other places for guest performances, and I am very happy to earn a performance fee of 30 cents. Over time, I became more and more addicted to acting. I remember that Guangdong Music and Quyi Troupe held a crosstalk meeting at that time. In order to improve my self-level, I bought tickets to study with a few friends. The first cross talk that taught me a lot of skills was "Female Captain", which was created by the famous performance artist Xia Yutian and performed by the famous cross talk actor Ma Ji. The "baggage" in the work is very complete, and it is unforgettable and rewarding. It turns out that there is so much knowledge in making others laugh. In addition, in my spare time, I will go to Zhongshan Library in Guangdong Province to read books and periodicals, understand the basic skills and theories of cross talk, and accumulate creative materials.

Schreiber: How did you become attached to Huang Junying?

Ho: On some performance occasions, my husband and I have met several times, but we are not very familiar with each other. Besides, both he and Mr Yang Da are professionals, but we are amateurs. Later, in a competition, I created a joke called "steering wheel". Before the competition, someone suggested that I ask Mr. Huang Junying to give me some advice, so my partner and I took the initiative to visit. At that time, he was learning singing skills with Mr. Cui Lingxiao. After understanding my purpose, he asked me to show it to him immediately and made suggestions on my script and interpretation. The whole finished product has gone up a lot at once. This is my first formal face-to-face communication with Mr. Huang Junying.

From 65438 to 0983, the "Guangzhou Crosstalk Art Troupe" was established with the leaders of, Lin, and others, with nearly 30 members. At that time, Cantonese crosstalk was in its heyday, with as many as a dozen performances a month, showing a booming trend.

Ho: (Laughter) At that time, the annual Miss Hong Kong election was one of the favorite programs of TV viewers. However, even if the performance date of our Cantonese crosstalk performance coincides with the "Miss Hong Kong" election, there are still many fans and the attendance rate is full. Unfortunately, with the gradual increase of people's entertainment methods, the attention of Cantonese crosstalk has been greatly reduced. Moreover, many viewers now record videos with their mobile phones during performances, which not only involves copyright, but also damages the appreciation. Because Cantonese crosstalk performance is different from singing and dancing, once you know the "baggage" in advance, you will lose interest, resulting in more and more difficult creation and fewer works. Therefore, I hope that the activity of "Cantonese Crosstalk into Campus" will enable us to discover more all-rounders who can perform and write, and make more contributions to the inheritance of Cantonese Crosstalk.

▲ (from left) He He performed the Cantonese crosstalk "The Power of Fire" at the 2004 "Southern Singing and Quyi Evening".

Gratitude is greater than a sense of accomplishment.

This year is the 37th year of He's professional Cantonese crosstalk performance. He can "hug" and "tease" in Cantonese crosstalk performances, and create realistic and natural characters, often combining editing, directing and acting. His works "Fast Three Slow Four Discos", "Various Ways to Eat", "Interesting Talk in Guangzhou Dialect" and "Talking about Chicken" left a deep impression on the audience. Among them, the comic sketch "Unlicensed Doctor" and "True and False" won many awards. He advocates that comic sketches compiled and performed by crosstalk performers are mainly characterized by comic language and comic burden, and achieve comic effect in the form of comic sketches. He has recorded sitcom sketches "Earthquake Live at 7 o'clock" and "A distant relative is better than a close neighbor" for Guangzhou TV Station (now Guangzhou Radio and Television Station), and recorded dozens of Cantonese sketches for Guangdong TV Station (now Guangdong Radio and Television Station) variety show "Yue Yun Fenghua", which was widely loved by the audience.

Voice Screen: What is your greatest achievement in performing Cantonese crosstalk?

Ho: In my opinion, this is more gratifying than a sense of accomplishment. Compared with the past, although the development of Cantonese crosstalk is not as brilliant as before, fortunately, Mr. Huang Junying still carried the banner, devoted himself to the industry and created many classic works. In the 1990s, I was the head of Guangzhou Crosstalk Art Troupe. At that time, the Literature and Art Department of Guangzhou TV Station cooperated with Guangzhou Crosstalk Art Troupe to promote Cantonese crosstalk, and produced 46 episodes of sitcom sketch "Earthquake at Seven o'clock Live". The program was broadcast live every other day, and the production time was very tight. As a screenwriter, director and actor, I usually write a script immediately after the performance, get up immediately and find an actor to rehearse the script, and then queue up for a day before going to the TV station for live broadcast. I can imagine the pressure. These works can still be found online now, and I sometimes feel full of jokes when I reread them. If these works have not been recorded, they may disappear from now on, so I am very pleased with this.

▲ He (second from the right) said that he was very happy to meet children who are interested in cross talk and full of potential at the activity of "Cantonese Cross Talk into Campus".

Voice screen report: What is the initial intention that still makes you love performing in front of the curtain?

H: I like acting very much. Although I have reached a rare age since ancient times, as long as the society needs me, the industry needs me, the teacher Huang Junying needs me, and the audience needs me, I will persist in performing as long as my physical conditions permit.

Voice screen newspaper: You inject most of the fun of life into your works and pass it on to the audience in your daily life. Are you so optimistic?

Ho: Laughing often is my outlook on life. Don't get angry easily in the face of things. Try to look on the bright side and naturally everyone will be happy.

Voice screen: Chen Jianxiong, He Zhifeng and Wu Haijie are all successors of Cantonese crosstalk. What is your message to them?

Ho: I grew up watching Chen Jianxiong, and I found him in the performance of Shisangong. His performance is quite aura and understanding. He is quite talented in writing sketches and has won many awards, but he is still a little immature in creating difficult cross talk. He Zhifeng and Wu Haijie are younger. Previously, they jointly held a "laughter party". On the basis of performing Cantonese crosstalk, they added singing elements, which enriched them and attracted new audiences. I also support this. I hope the three of them can continue to carry forward Cantonese crosstalk.

▲ (from left), He and Zai 1995 perform the sketch "Fat Boy Rice".

I wonder if you have heard of Huang Junying, an old artist. If you are a friend in Guangdong or Guangzhou, I believe you have heard of them all, even since you were a child. That classic line is still used sometimes.

In fact, I think Huang Junying's artistic achievements are very high. He is a leading figure in the field of Cantonese crosstalk. He has been engaged in art for 67 years and is old. In 1950s, Cantonese crosstalk didn't really exist. At that time, Huang Junying met Ma Ji, a famous crosstalk artist in China, and studied under Ma Ji. Huang Junying, a native of Guangdong, wanted to express what he had learned in his own language, so he started to create the field of Cantonese crosstalk.

In this process, he also walked with his good friend and apprentice He, and made contributions to the cause of Cantonese crosstalk. At that time, I grew up listening to Huang Junying's cross talk, and even hid some CDs at home, and then a number of cultural cross talk with Cantonese characteristics began to evolve.

Although 82-year-old Huang Junying has retired, he is still active in this field. I hope his disciples can better develop this field, bring joy to others, and at the same time let Lingnan culture be passed down through different forms.

This reminds me of Degang Guo, the representative of Northern Crosstalk. In fact, Degang Guo studied with the teacher since childhood, and Degang Guo pursued the art of cross talk in the early stage, hoping to carry forward the cross talk in the north.

But in fact, I think the northern cross talk has lost some of its original charm, and even it is not pleasant to hear. Northern cross talk has evolved into a vulgar feeling. Some old terrier, even used repeatedly, make the audience feel aesthetic fatigue. Why?

In fact, don't say cross talk in the north, even cross talk in the south will have the same problem. This root lies in real art, which is difficult to understand and comprehend. But if we simply pursue art itself, the value it can bring to society is cultural inheritance, but it can't create some economic value for ourselves. We also know that society needs development and people need development. The reason for this situation in northern cross talk is to meet the needs of the market. But what I prefer to see is a cross talk performance with more charm and cultural flavor, rather than a cross talk deliberately created to meet the needs of some audiences.