The first generation crosstalk performer: Zhang Sanlu?
The second generation of crosstalk performers: Zhu Shaowen (poor but not afraid), Zhang, Shen, etc.
Third Generation Crosstalk Actors: Enxu, XuChangfu, etc?
The fourth generation crosstalk performers:,,, Li De _ (heartthrob), Zhang Dequan (pockmarked Zhang), (toad Zhou), Jiao Dehai, etc?
The Fifth Generation Crosstalk Actors:, Chang,,, Ma,, Guo Qiru,?
The Sixth Generation Crosstalk Actors: Hou,,,,,,? , Yin, Chang Bao _, Chang, Chang Bao Pavilion, etc?
Seventh Generation Crosstalk Actors: Ma Ji, Hou, Su,,,,, Shi Shengjie, Chang Guitian, Zhao Zhenduo, Fan Zhenyu, Yang Yi, Niu Niu, etc?
Eighth generation crosstalk performers: Jiang Kun, Degang Guo, Yu Qian, Feng Gong, Zhao Yan, Wei Liu, Xiaolin, Wang Qianxiang, Li Zengrui, Yin Zhuolin, Li Jindou, Li Jing, Xu Deliang, Gao Feng, Qi Zhi, etc?
The Ninth Generation Crosstalk Actors: Dashan, Zhou Wei, Zhao Weiguo, Da Bing, Wu Bin, etc?
Extended data:
Crosstalk, a folk rap art. It highlights its characteristics in the form of speaking, learning, teasing and singing. The famous crosstalk performers are Ma, Hou, Hou, Ma, Ma and Ma. Ma Ji, Hou, Su, and so on.
China crosstalk has three cradles: Beijing Tianqiao, Tianjin Quanyechang and Nanjing Confucius Temple. Crosstalk originated in North China, popular in Beijing, Tianjin and Hebei, and spread all over the country and at home and abroad. It began in the Ming and Qing Dynasties and flourished in the contemporary era. Mainly oral performances.
There are stand-up crosstalk, mouth-to-mouth crosstalk, group crosstalk, etc., which are rooted in the people and originated from life and are loved by the masses.
In narrative art, a penetrating plot constitutes a closed structure with a head and a tail and linear development, and external interference is not allowed.
In the art of drama, there is a theory of the fourth wall. It requires setting up a hypothetical wall between the actor and the audience, so that the communication between the actor and the audience becomes indirect.
The art of cross talk is different. The "plot" in cross talk is intermittent, with or without. So the content of cross talk makes people feel uncertain. The burden of cross talk often gives the audience an illusion and hides the truth.
In this way, the audience is encouraged to think positively, thus strengthening the exchange of ideas between the two sides. In contrast, storytelling (and other folk arts) actors should not only explain the causal relationship of things clearly, but also define the theme and ending of the story in advance by winning the first time, and the audience only needs to passively accept it.
In cross talk performance, actors no longer enjoy the status of "storytellers" as storytellers, and actors and actors, actors and audiences all appear as equal interlocutors. They can express their different views on things.
This kind of different opinions from many aspects not only constitutes the formal characteristics of cross talk, but also is the source of comic contradictions in cross talk. Here, all the words of an actor have to be strictly tested by another actor and audience, and all his mysterious, contradictory, absurd and exaggerated words can't escape the audience's ears.
He often laughs because of "making a fool of himself" and is in an embarrassing situation of "making a fool of himself". The audience felt their psychological advantages through laughter and received a subtle education through laughter. The appreciation process of cross talk can better achieve the purpose of "entertaining through education", so the art of cross talk is very popular among the masses.
References:
Baidu encyclopedia-crosstalk