Larkey cross talk lines:
Su: Oh, look at this cross talk.
Wang: Yeah.
Su: Crosstalk is a type of comedy.
Wang: It is also considered oral literature.
Su: Yes, yes, yes.
Wang: Yeah.
Su: Crosstalk is not just about performance.
Wang: Yeah.
Su: In terms of creation.
Wang: Yeah.
Su: All aspects.
Wang: Yeah.
Su: It is all exaggerated.
Wang: Yes, yes, yes, yes.
Su: However, exaggeration must be moderate.
Wang: Oh.
Su: It’s a boundless exaggeration.
Wang: Yeah.
Su: I can’t help but listen to you.
Wang: Yeah.
Su: That would also lose its educational significance.
Wang: Oh, once you exaggerate it, it doesn’t sound credible.
Su: Yes, yes.
Wang: Oh.
Su: It’s not just art.
Wang: Yeah.
Extended information:
Requirements for crosstalk actors:
Crosstalk actors do not mainly perform as narrators like storytelling and other folk art actors, but also perform as narrators. Rather than performing as a character in a play, like a dramatic actor, he performs as an interlocutor. The language used by crosstalk actors is not narrative language, but conversational (i.e. question-and-answer) language.
This is more obvious in the crosstalk of the Zimu type cabin. In fact, in a dull cross talk, the funny and flattering actors are also having a conversation. Although the content of the funny actor's words does have a narrative element, in form it is still expressed as a dialogue with the flattering actor; here, the narrative content can only be spoken as a reply and cannot be separated from the specific dialogue environment. Go tell stories.
A crosstalk actor is always an interlocutor in a performance, not an actor (the word "actor" in English is "actor", which can also be translated as "actor"). Crosstalk actors mainly rely on dialogue to create characters, rather than relying on external images and body movements. The external image of cross talk actors is "unchanged in response to all changes". This feature has a lot to do with the special aesthetic style of cross talk.
Some researchers believe that cross talk performance is, to a large extent, a true performance of "I play myself" (see Lu Changwang's "Some Thoughts on Folk Art Performance Issues" in "Folk Art Theory Series" 》Volume 9, page 76), some researchers believe that it is a virtual performance.
(See pages 64-65 of "The Art of Laughter" by Xue Baokun) But in any case, the physical movements of crosstalk actors are only auxiliary means used to make the dialogue more vivid. These movements are not like those in dramas. The action is so important and complete.
In a cross talk with a heavy head, although there are not many words to praise the actors, they should play the finishing touch. The importance and necessity of admiring actors can be used as a "witness witness" to the proposition that "crosstalk is the art of dialogue." Among the several types of cross talk, group cross talk is further developed and evolved on the basis of cross talk, which transforms the bilateral dialogue in cross talk into a multilateral dialogue; and has some elements of drama.
The situation of stand-up comedy is rather special. Stand-up comedy developed and evolved from folk tales and jokes. It has the artistic characteristics of both stories and jokes. In this regard, experts have expressed insightful opinions.