Deyun's Deputy Boss: Starting by Leaving the Mainstream

As a fan of cross talk, I have listened to many cross talk jokes. When I was young and frivolous, I also played Mr. Guo's life at the school party. Cross talk novels started to pay attention to the cross talk master of Tang Sifang. To be honest, there are few cross talk articles in the online literature genre that surpass the cross talk master. I didn't read much of the author's last book and couldn't continue. It seems that basically all the authors of the same type do not understand cross talk. A few basic knowledge of popular science: 1. The composition of cross talk 2. The performance of cross talk 3. The creation of cross talk The composition of cross talk consists of the following parts: the words, the beams, the positive work, the baggage, and the bottom. There are no fixed rules. Three or two small baggage is it, and it is also it for dozens of minutes. Crosstalk is the art of selling actors. The audience looks at you and closes their eyes. Even if you are silent on the platform, some people will cheer and throw away the baggage. Interaction, if you don't like it, you just say a line and the audience will want you to shut up (you can cooperate with Zhang Da and Shang Xiaoju). But the actor cannot choose the audience, so the role of the line is here. Through the test of the line, you can find out the audience's preferences. For example, how should you shake off the burden when there are a bunch of old professors sitting down there? How can a group of bosses shake off their burdens? These are all found out through gossip. The Liangzi in cross talk and the Liangzi in storytelling are not the same thing. The Liangzi in storytelling is similar to the outline but not exactly the same. For example, the Sui and Tang Dynasties used a set of Liangzi but the stuffing inside was different. I'm going a bit far. Let's talk about the Liangzi of cross talk. The Liangzi of crosstalk belongs to the framework. No matter how you add words or live up to it, you can't break away from Liangzi. For example, Mr. Chang Guitian Chang's "Better Than You" uses the Liangzi of talking about teasing. Mr. Hou's "The Shorthand" uses the Liangzi of picking up man's mantle. The role of Zhenghuo in cross talk is similar to that of a bookcase, and it is the core part of cross talk. The main focus of cross talk actors of old audiences is to listen to cross talk, such as "Zhengsheng Taiping Lyrics", "Waist Sing Taiping Lyrics", etc. The singing of "Labor Chant", "Selling Appraisal Clothes", "Yellow Crane Tower" and "Hongyang Cave" are the real work, the dialogues such as "Eight Screens", "Reporting the Name of the Dish" and "Geographical Map" are the real work, and the plots of "The Mandarin Jacket", "Dream of the Western Expedition", "The Bodyguard" and "The Article Meeting" are the real work. There is a difference between baggage and jokes. This is the easiest thing for unfamiliar audiences and new actors to confuse. The baggage must be laid out steadily. For example, Jin Fei and Chen Xi's hit "It's so hot it's about to explode." It's baggage. The weather was hot before. These are all paving the way for Chen Xi again and again. Turning on the air conditioner is about turning on the baggage through emotions. The last sentence about boiling water is so hot that it is so hot that it completely shakes off the baggage. Mr. Guo's part about buying Zhongnanhai is also a typical baggage. The joke is much simpler in terms of operation. No need to fiddle around. It can be inserted at the right time to directly attract the audience's laughter. For example, the "Old Sassy Cat" in the famous cat-calling scene, such as Meng Zhou's return performance of "The Road Underfoot", is a joke, not a baggage. Baggage and jokes are not differentiated in terms of program effectiveness, only in the performance form Both are must-have in every cross talk. Things, cross talk can only be called a complete cross talk if it has a good foundation. What's the beauty of staying up late at night and holding a bucket of spit in "Dream of the Western Expedition", killing a cow in "The Bodyguard", and the child is born to your wife in "Giving a Wife and a Son". These are all cross talk performances that can be concluded only after the cross talk is explained clearly. 2. The cross talk performance is divided into two parts: cross talk and voice. The eight-fan screen, Hongyang Cave, and singing Taiping lyrics. Works such as the Eight Changes of Industry belong to the category with a relatively large proportion of voice. They test the learning of singing, basic skills and the sharpness of the tongue. The big bodyguard and article meeting will amuse you. Playing, running a porridge factory, and crying all belong to the category with a large proportion of phase. What is tested is whether the actor's demeanor and form match the character image. What is tested is the performance ability. Cross-dressing and voice acting do not exist separately, they just have different proportions. Secondly, each work is performed and presented every time. The effect is different. For example, the sealing of Zhou Wen and Wang Deyun performed by Meng Zhou is different from the performance with new people. Crosstalk is about unpacking and washing the new ones over and over again because the audience's different baggage and the handling of the backstory will also be different 3. Crosstalk Creation is regular, either saving a few jokes or creating a new cross talk. Whether it is Mr. Guo's You Zi series or Me Zi series or Mr. Ma Ji's Five Senses Struggle, there is a clear cross talk structure. Chairman Jiang's Reverie and Feng Niu's satirical cross talk did not deviate from the structure

To tell a joke, a large group of disciples of Deyun Society have basic skills.

It's a bit embarrassing, the cross talk jokes in it are all old jokes. And sometimes, in order to shake off the baggage, the methods used are very blunt. The steel hooks used in the downtown areas of Caoxian and Guo Degang in Heze, Shandong are very stiff.

I always feel that there is a financial backer behind writing cross talk novels. After all, they are making a living.

I have recently watched a few episodes of New Travel Notes and found Yue Yunpeng quite annoying, annoying them all!

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I always feel that Deyun is now developing into the rice circle!

After watching Deyun Dou Xiaoshe before, I felt that among Lao Guo's apprentices, Meng Hetang and Zhang Helun were the best in crosstalk.

When I saw this title, I had no desire to read it.

There is too much cross talk content. If you feel tired, you are here to read the novel, not the cross talk show.