Pancake uncle
That school of kings is bearing, and everything goes with the flow!
-It's for the inscription.
one
The news of Mr. Hou's death seemed so sudden that people didn't think that he was under the age of Jiazi. In my mind, what instinctively surges up is Mr. Hou's domineering, which is also lacking in many crosstalk actors today.
Hou's domineering spirit is reflected in his calmness on the stage. The self-confidence brought to him by having a famous family and the insight brought to him by the training the day after tomorrow. On Beijing and Taiwan for several years, whenever Shi Hou takes part in a performance, he must be at the bottom-no one wants to take Shi Hou's performance, even if it is a familiar joke like charades and eight fan screens, because their performance is too hot.
two
Lun Jia's special performance was a "holiday game". Although this is a common joke, Shi Hou can make the scene hot. I like watching his plays. He is very comfortable on the stage, completely at a loss, without formality and recognition. His speech is very distinctive, especially in recent years, there have been more conspicuous performances, and you don't know where he is going to live at all, which unconsciously brings you into a joke. The so-called "seemingly most extraordinary rise" is the real loose outside and tight inside. Hou's control of the scene atmosphere is rarely matched by contemporary actors.
three
Looking at an actor's basic skills is by no means a mechanical look at how many traditional jokes he has made, whether he has said a geographical map of a menu, and his solid style can be seen in his works. He can sing Taiping lyrics, but he never emphasizes how Taiping lyrics are, but skillfully turns them into paragraphs, like "money-obsessed husbands"; He is proficient in Peking Opera "Qi and Qiu". He can sing Pingju and learn local operas such as Yue Opera, Henan Opera and Huangmei Opera, such as Miscellaneous Talks on Opera and Miscellaneous Talks on Local Opera. He doesn't pursue speed to win, but emphasizes portraying characters' characters through their mouths, such as the mouth of sweet and sour live fish and the wind of eight fans. After listening to his reply, you will know that if he sells cloth, he will not be worse than many famous artists' performances. Hou tells few traditional jokes, but almost all of them are wonderful. Now, all the actors who play the lotus mouth have traces of Hou. Shi Hou's "Eight Fan Screen Wind" is also a joke that I have heard many times. He didn't win by showing off his ventriloquism at all. He has his own ideas and understanding.
four
There are many new jokes in Hou's works, but he can skillfully find a good fit between tradition and reality, and thus he has made a series of gorgeous articles. It's hard to say which of his jokes comes from which traditional jokes, but it left a deep trace of tradition. I like to listen to the reincarnation of Qianlong, and listen to the young man who wants to be famous all over the world, so that the Buddha "puts his hands together and thinks of the object, and his forehead is twice as bright"; I also like to listen to "Be Brave" and listen to him "win three with one" in the face of gangsters; I also like listening to "Red Hearts", "I am crying!"
five
Speaking of Liu Huo, I love him upstairs and downstairs. Since the 1980 s, there have been a lot of jokes about learning to sing popular songs, but most of them are mere formality, and they are sung for the sake of singing. The songs and plots in Upstairs and Downstairs are ingeniously integrated, which depicts the characters' personalities and promotes the development of contradictions. If the new six fires are all done according to this idea, how can today's program about learning to sing turn into the ending that grandma doesn't love her and uncle doesn't love her?
six
The so-called king, there must be a king temperament. There is no doubt that Hou is an important leader in phonology. During his ten years in office, he and the rap group of the Railway Art Troupe rose to become the largest professional crosstalk group in China, with many outstanding young and middle-aged actors among his disciples, including Degang Guo, who was in full swing. Look at the lineup of the Railway Art Troupe: Shi Fukuan, Liu Hongyi, Li Jiacun, Degang Guo, Yu Qian, Lun Jia, Gao Yuqing, Niu Chengzhi, Chen Hanbai, Wang Min, Qi Zhi, Dan Lilian, Yun Luma and Liu Ji ... There is no doubt that Hou is the soul and core of this big team.
seven
To evaluate a crosstalk performer, it is very important to see whether he is dedicated, thoughtful and contributes to the crosstalk cause. Mr. Hou has been insisting on the stage for decades, and has accomplished his mission in performing cross talk, cultivating the younger generation and leading the team. From this point of view, Hou's departure is a great loss to the field of phonology.
eight
In recent years, Hou's main energy has been concentrated on the construction of railway art troupe and the cultivation of apprentices. His artistic peak has gone far away, and it is difficult to reproduce the great waves that existed in those years. Their pace of innovation is also getting slower and slower. There are not many works after Seeing the World with Small Eyes and Who owes Who. Shi Hou's performance is more of a demonstration. Because of this, when Degang Guo was an apprentice, someone was walking a tightrope and asked, "Who worships whom?" How can it not be ironic?
nine
People die like lights, and Hou's spirit of the king will gradually disappear in people's sight with the demise of cross talk. However, crosstalk will not die. Hou said that people will not be sad every day, but they can be happy every day, and cross talk will not die.
ten
Crosstalk is an immortal bird, flying away to meet tomorrow.
With Mr. Hou gone, he can tell Mr. Hou with a clear conscience that I am not only his son, but also his father.
twelve
With the passage of time and the erosion of life, the passion to write down words is deteriorating day by day, but it happened that my favorite cross talk lost my ankle, which made me feel depressed and began to write.
I hope there are fewer and fewer such words.
Yun Yetui: There is no post-Wen Yao in the world.
Author: Yun Yetui
It all started from the moment 14 years ago. When the master Hou died, crosstalk fans were not very sad-the crosstalk elites who emerged in Hou He1980s at that time had taken over the position of the older generation. Look at the stage short play "Chairman Mao Meets Hou Linbao" (there may be one online now). In that play, it was played by Gu Yue, and the actor of Hou knew it without asking. What I think in my heart is: Houmen is lucky, and people who love cross talk are lucky. That gesture, manner and tone, at first glance, really make people think that Hou is still a child.
Hou arrived at the scene as a guest during the 1990 international crosstalk exchange broadcast. He has hardly praised his son's art in his life, but I believe he will be pleased if he keeps watching the grand event. It is no exaggeration to say that Hou He's Spitting Lotus is a milestone in the history of cross talk and a masterpiece that can stand forever appreciation. It opens up a new meaning for an old book that was originally limited to poking fun at A and B, and it will never go out of date: it tells people how ridiculous it is to be obsessed with money and interests.
There are many such milestones. There are always people who like to say that the traditional skills of that generation of Beijing crosstalk performers are poor. In my opinion, an adaptation of "Spitting Lotus" is worth faithfully reproducing a hundred traditional jokes; Listen to Hou's Miscellaneous Talk on Local Opera and Autumn School, and listen to how he sings "Persuade Dad to Relax" in Mulan, "Meditate in Kaifeng Hall" in three plays, and "Persuade Sister-in-law" in Chisang Town. We can hear the superb understanding of a young actor from these works with the most traditional charm. Hou has said to himself countless times: the identity after a noble family is a curse on his head. When everyone sees him, they will say, "You should learn from your father." "Why do others have to compare horizontally (compared with peers), and I have to compare vertically when I come?" I hope he proudly expresses this confusion: he really deserves to be compared with his father.
Jiang Kun, Li Wenhua and later Tang Jiezhong probably created the most new works in the cross talk stage that prevailed in1980s. In contrast, Hehe is undoubtedly the couple with the highest gold content among newcomers. After listening to some representative works of Shi Hou, you will feel that it is absolutely a waste to stick to the tradition with their talents. If the charm depends on a passion of a certain age, then Hou's temperament has gained a calm tone in the shortest time, thus showing signs of "enlightenment" very early. Therefore, he is very good at performing two complicated roles on the stage: one is a hypocritical person, such as the old man with a big phone and a shelf in "The Road to Later Happiness"; Second, ordinary people who are not bad in nature, but show some ordinary habits from time to time, such as the selfish father and husband in Red Hearts, are repeatedly humiliated by the good people around them.
This trait determines that Hou's works are different, more rigorous and heavier. Other people's thin themes and common problems of hard work are almost never found here in Shi Hou. As a work that satirizes the random shooting of TV movies, the birth of a TV series is more compact than Niu Niu and Feng Gong's "I am a director", and the absurd phenomenon it focuses on is more real and memorable because of the rigorous overall structure. "Red Heart", as a new trend of praising social mutual assistance, is better than many similar mechanical works. Its smooth charm and precise rhythm are enough to make people forget the boring dichotomy of "satire/praise". To say that the "novelist" actor who is best at controlling the overall situation in phonology is unmatched.
Hou Hekai's sky mark depicts the height that few people can reach in contemporary cross talk; After taking the lead in purifying cross talk, it quickly grew into one of the standard bearers of new cross talk on the temporarily pure soil of 1980. It's sad to think that the future of crosstalk art will be "saved" by salvaging a lot of dirty mouths. Listen to "the reincarnation of Qianlong". Such a trivial matter as "destroying public property" can deduce such a good structure of twists and turns, singing and sighing, and is one of the best heroes in the industry. Who can look down on Hou? Who is qualified to say that he must be above Hou? When Degang Guo was a disciple, someone pulled out an ignorant trump card and asked arrogantly, "Who worships whom?" I'm afraid he doesn't know that with the training of the crosstalk elite of Hou generation, their starting line scores will be two grades higher than Guo's, and their sense of mission-which makes them devote themselves to carving every innovation-is not the same as that of some nouveau riche today.
Without warning, we have to say goodbye to another person: he was the first person in that generation to die, and how unfortunate he was. I just revisited it not long ago.
On Hou's album "Art Life", Mr. Wang also said with a smile, "I sleep for nine hours every day", which is still ringing in my ears, and everything is in vain. Hou's eyes were full of sincerity when he said, "I am a weak person and a loser in emotional issues", which also included some private affairs of crosstalk performers.
The status quo of entertainment headlines, helpless protests. There is no post-Wen Yao in the world, and there is no pure Quyi in the world. People need paparazzi more than an artist with real skills, and gossip about "Colonel" is more than admiration for "Artist". Tomorrow, at the latest, the day after tomorrow, someone will happily say to me: As soon as you write a cross talk article, it is an obituary-I have no intention of answering such a joke. Listening to crosstalk again and again makes me feel very gratified as a purebred China person, which is enough.