Xiangsheng
This article needs additional citations for verification. (May 2019) |
Crosstalk | |
---|---|
Medium | Sound |
Types | a traditional performing art in Chinese comedy |
Originating culture | Chinese culture |
Originating era | late Qing Dynasty |
Xiangsheng | |||||||
---|---|---|---|---|---|---|---|
Traditional Chinese | |||||||
Simplified Chinese | |||||||
Literal meaning | face and voice[1] | ||||||
|
Xiangsheng (traditional Chinese:
Xiangsheng has connections with the vaudeville Double act that developed in approximately the same era. Some Westerners have studied the art of Xiangsheng.[3][4] One Canadian student of Xiangsheng, Mark Rowswell, who uses the stage name of Dashan, has said that the closest English equivalent is "Who's on First?", a sketch by Abbott and Costello.[5] However, many acts in vaudeville and radio double acts, as well as the screen comedy dialog that evolved from them, are similar to Xiangsheng in their formula.
Format[edit]
Modern Xiangsheng comprises four classic skills:
- Speaking (simplified Chinese: 说; traditional Chinese:
說 ; pinyin: shuō): to tell a story, which is the pragmatic mechanism of humor (i.e. making jokes or using tongue-twisters). - Imitating (simplified Chinese:
学 ; traditional Chinese:學 ; pinyin: xué): includes Kouji, accents, dialects, and other sounds, as well as imitating the "singing" and actions of specific characters in traditional Chinese operas such as Peking opera, Pingxi, and Bangzi. - Teasing (Chinese: 逗; pinyin: dòu): to make a joke—tease is the soul of Xiangsheng.
- Singing (Chinese: 唱; pinyin: chàng): only Taiping lyrics can be considered as singing in Xiangsheng.
Xiangsheng is most commonly performed by two actors. The leading actor is called Dougen (simplified Chinese: 逗哏; traditional Chinese: 逗哏; pinyin: dòugén) and the supporting actor is called Penggen (simplified Chinese:
History[edit]
Origins[edit]
Xiangsheng is generally thought to have originated in the late Qing Dynasty, particularly during the rules of the Xianfeng Emperor and the Tongzhi Emperor in the mid-1800s, although its roots may extend as far back as the Ming Dynasty. It began as a form of street performance, incorporating joke-telling, comedic banter, imitations, or borrowing from other performance arts, such as Peking opera, all with the express purpose of making audiences laugh. By the early days of the Republic of China, Xiangsheng had evolved into a more modern format. It was performed in teahouses, theaters, and, eventually, on radio and television.
There are three major sources of Xiangsheng: Beijing Tianqiao, Tianjin Quanyechang, and the Nanjing Confucius Temple. The origins of certain modern-day Xiangsheng pieces can be traced back well over 100 years, though in many cases, the original author is unattributed. Many skits in "traditional Xiangsheng" have evolved through generations of performers successively revising material, retaining the general structure or "heart" of a piece while updating specific references with more modern material.
One of the earliest Xiangsheng pioneers is a person known by the name of Zhang Sanlu (simplified Chinese: 张
Xiangsheng in Chinese Mainland[edit]
After the establishment of the People's Republic of China in 1949, the popularity of Xiangsheng increased. Previously seen as relatively low-class street performing, Xiangsheng became regarded as a proletarian art form. Because it was performed in Mandarin Chinese, Xiangsheng became a useful tool for promoting the use of Mandarin Chinese throughout China.
In the 1950s, Hou Baolin led a group of Xiangsheng performers to reform Xiangsheng, removing language and content that was considered "vulgar" and generally making it more "politically correct". Hou later became widely regarded as a master of Xiangsheng. He is often regarded as "China's Charlie Chaplin".[6]
As with many forms of performance art, Xiangsheng was banned during the Cultural Revolution. It experienced a huge resurgence in the mid-1970s, with many skits satirizing the Gang of Four and excesses of this period. With the popularization of television in the 1980s, Xiangsheng became a standard feature of the annual New Year's Gala of China Central Television (CCTV), as well as other popular performing arts shows in China.
Xiangsheng entered a period of decline in the 1990s, caused largely by increased official sensitivity towards political and social satire following the 1989 Tiananmen Square protests, as well as the lack of performance venues outside of sanitized state-run television programming. Many performers called for a return of performing Xiangsheng in teahouses and small theaters, which had traditionally been the main venues for Xiangsheng performances but were almost never used at the time. A new generation of Xiangsheng performers emerged from this movement, including Guo Degang. Guo has been credited with renewing interest among young millennial audiences, who found Xiangsheng to be boring and didactic. Guo's rise to fame, while representing a very traditionalist movement, pitted him against more mainstream, establishment performers, such as Jiang Kun.[7]
In recent years, to appeal to younger audiences, animators have created animated versions of various skits using audio from past broadcasts. The animated versions often use humor in a literal sense, illustrating scenes or stories described by the performers. There are some variety shows for young Xiangsheng actors to promote themselves like "Xiangsheng Has New Talents" (Chinese:
Xiangsheng in Taiwan[edit]
In 1949, a group of Xiangsheng performers followed the Republic of China's retreat to Taiwan. The same year, Chen Yian (Chinese:
Initially, Xiangsheng's main audience was internal immigrants, mainly from military dependents' villages. In 1985, the performance workshop Biao Fang (Chinese:
In 1989, Biao Fang launched the stage play Tonight, Who Speaks Xiangsheng? (Chinese: 這
- Taiwan Bizarre Talk (1991; performed by Li Liqun),
- That Night, We Speak Xiangsheng (Chinese:
那 一 夜 ,我 們說相 聲 ; 1993; performed by Li Liqun and Feng Yugang (Chinese: 馮翊綱 )), - Another Night, They Speak Xiangsheng (1997; performed by Feng Yugang, Zhao Ziqiang (Chinese: 赵自
强 ), and Bu Xueliang (Chinese:卜 學 亮 ), and - Millennium Night, We Speak Xiangsheng (2000; performed by Zhao Ziqiang, Jin Shijie, and Ni Minjan).
In 2005, This Night, Women Speak Xiangsheng—performed by Fang Fang (Chinese:
In April 1988, Feng Yugang and Song Shaoqing (Chinese:
In 1993, Liu Zengqi (Chinese:
On August 26, 1999, Wu Zhaonan announced the establishment of Wu Zhaonan's Xiangsheng Club. Only direct disciples of Wu Zhaonan could become official members. In addition to Xiangsheng, it also introduced Quyi, including Shuanghuang (Chinese:
Xiangsheng in Hong Kong[edit]
Northern Xiangsheng has been popular in Hong Kong since the Zhongyuan period. As early as the Qing Dynasty, storytellers from China brought Xiangsheng to South Guangdong and Hong Kong.
After Hong Kong was ceded as a British colony,[8] the development of Xiangsheng entered a unique period of localization. In the early years of the Republic of China, Hong Kong's Xiangsheng mainly performed in the street, and most Xiangsheng artists were jugglers, such as Pingshu and Kouji. Xiangsheng performers came from all walks of life. They were knowledgeable and enjoyed chatting, thus using Xiangsheng to make a living.
In the 1940s and 50s, Hong Kong cinema began to develop rapidly, and Xiangsheng began to integrate into emerging media. In old Hong Kong movies, Xiangsheng-inspired comedy began to integrate into early Hong Kong cinema, mostly in the form of monologs and characters teasing each other.
In 1957, the first Chinese-language TV media in the world was created; it was called Rediffusion Television Limited and was the predecessor of Asia Television. Xiangsheng became a fixed performance for variety shows. In 1967, Television Broadcasts Limited (TVB) was created, and the variety show Enjoy Yourself Tonight was launched. Xiangsheng began to appear in several variants in the variety show, such as the host's speech and the show to show lines. [clarification needed]
Xiangsheng in Malaysia (Overseas Chinese)[edit]
After the Chinese Civil War, a number of performers from South China traveled to Malaysia for development (before Singapore's expulsion from Malaysia). Feng Xiang (Chinese: 冯翔), Bai Yan, and Lu Ding performed Xiangsheng in this region. In the multi-language environment of Malaysia, "Malaysian Xiangsheng" became different from Xiangsheng in mainland China and Taiwan. Since Mandarin Chinese is not a mainstream language in Malaysia, there are few professional performers in Malaysia.
Xiangsheng in North America[edit]
In 1984, 19-year-old Canadian comedian Mark Rowswell started learning Chinese at the University of Toronto.[9][10] After graduating in 1988, he went on to study Xiangsheng at Peking University with a Chinese comedian and Xiangsheng master, Jiang Kun (
In 2012, American comedian Jesse Appell, known as Ai Jiexi (
As social commentary[edit]
The small scale and popularity of Xiangsheng make it second only to word of mouth in reflecting popular concerns. Hou Baolin and others have said that Xiangsheng items are "works of comic nature which use satire and humor as their principal base. The cross talks use witty speech, bitter, ridiculous ridicule, in order to achieve the purpose of arrogant "big laugh" and entertaining people. Its earliest form was derived from the juggling of "Yuyou". In these jokes, artists often pinned their mockery and whipping against the rulers. Their satirical content strikes home at contemporary malpractices and also often includes political satire." The role of Xiangsheng in the social commentary was seen after the fall of the Gang of Four in 1976 when Xiangsheng performances provided the first open criticisms of the gang. After 1976, Xiangsheng has also satirized corrupt officials and members of the Chinese Communist Party, although criticism of the party as an entity remains off-limits.[25]
Xiangsheng classifications[edit]
By number of actors[edit]
- Dankou Xiangsheng: a monolog by a solo performer
- Duikou Xiangsheng: a dialog between two performers
- Qunkou Xiangsheng: a group act with at least three performers
By content[edit]
- Ironic Xiangsheng: performers criticize themselves, others, or concepts, such as Hou Baolin's Walking in the dark (Chinese:
夜行 记) (criticizes people who do not follow the traffic rules), Jiang Kun and Li Wenhua 's Photograph (criticizes the social phenomenon during the Cultural Revolution). - Complimentary Xiangsheng: performers praise themselves, others, or concepts, such as Ma Ji's The New Peach Garden (praises socialism), Hou Yuewen's Story of Beijing–Kowloon railway (praises the constructor of Beijing–Kowloon railway)
- Entertaining Xiangsheng: performers aim to entertain, such as Speaking in tongues
By chronology[edit]
- Tradition Xiangsheng: in the Late Qing Dynasty
- New Xiangsheng: after 1949
- Contemporary Xiangsheng: after 1980
By genre[edit]
- Ma Sect Xiangsheng: the representative personage Ma Sanli, Ma Zhiming (Chinese: 马志
明 ) - Chang Sect Xiangsheng: the representative personage Chang Lianan, Chang Baokun (Chinese:
常 宝 堃) - Hou Sect Xiangsheng: the representative personage Hou Baolin
- Liu Sect Xiangsheng: the representative personage Liu Baorui (Chinese: 刘宝
瑞 )
Notable performers[edit]
- Zhang Sanlu (simplified Chinese: 张
三 禄 ; traditional Chinese:張 三 祿 ) is considered to have been one of the fathers of Xiangsheng. Zhang was born in Beijing in the late Qing Dynasty. His disciples include Zhu Shaowen, A Yantao, and Shen Chunhe. - A Yantao (simplified Chinese:
阿彦 涛; traditional Chinese:阿 彥濤) better known by his stage name A Er (阿 二 ) or A Cier (阿 刺 二 ), was a Xiangsheng performer of Manchu descent. His disciples include En Xu, Gao Wenkui, Chun Changlong, and Shen Zhushan. A Yaotao was born in Beijing to a rich family of the Sumuru clan belonging to the Eight Banners. During his childhood years, he developed an interest in traditional Chinese opera and experimented with several different vocal techniques. Later, his family came down in the world.[clarification needed] In order to support his family, he studied under Zhang Sanlu and became a second-generation Xiangsheng performer. - Shen Chunhe, better known by his stage name Shen Er (沈二), told stories before performing Xiangsheng. He studied under Zhang Sanlu and became a second-generation Xiangsheng performer. His disciples include Wei Kunzhi, Wang Youdao, Li Changchun, Gao Wenyuan, Feng Kunzhi, and Yu Erfu.
- Zhu Shaowen (1829–1903), known by his stage name Qiongbupa (穷不怕), was one of the fathers of Xiangsheng. He was born in Beijing, and his ancestral home was Shaoxing, Zhejiang. Zhu was honored as one of the "Eight Oddities of Tianqiao" (
天 桥八怪 ). His disciples include Pinyouben, Fu Guizhen, Xu Changfu, and Fan Changli. - Hou Baolin
- Ma Sanli
- Liu Baorui (Chinese: 刘宝
瑞 ; pinyin: Liú Bǎoruì) - Ma Ji
- Chang Baohua
- Ding Guangquan
- Jiang Kun
- Hou Yaowen
- Guo Qiru
- Dashan (Mark Rowswell)
- Feng Gong
- Guo Degang
- Yu Qian (Chinese: 于谦; pinyin: Yú Qiān)
- Yue Yunpeng
- Sun Yue (Chinese: 孙越; pinyin: Sūn Yuè)
- Feng Yi-kang (simplified Chinese: 冯翊纲; traditional Chinese: 馮翊
綱 ) - Sung Shao-ching (Chinese:
宋 少 卿 ) - Lee Li-chun (Chinese:
李 立 群 ) - Li Mu (Liam Bates) (Chinese:
李 牧 ; pinyin: Lǐ Mù)
See also[edit]
References[edit]
- ^ King-fai Tam; Sharon R. Wesoky (28 August 2017). Not Just a Laughing Matter: Interdisciplinary Approaches to Political Humor in China. Springer. pp. 76–. ISBN 978-981-10-4960-6.
- ^ Edward L. Davis (2 August 2004). Encyclopedia of Contemporary Chinese Culture. Routledge. pp. 1301–. ISBN 978-1-134-54953-5.
- ^ a b "Dashan - Ambassador to China's Funny Bone".
- ^ a b "Jesse Appell - Laowai in Beijing". One in a Billion. 2015-10-23. Retrieved 2021-09-29.
- ^ "What is Xiangsheng?". Dashan Online. Archived from the original on 2013-12-12. Retrieved 2013-11-29.
- ^ "
著名 相 声 表 演 艺术家 侯 宝林 的 教子 故事 :要 当 一 个艺术家". eduu论坛. Archived from the original on 2012-12-10. Retrieved 2013-11-12. - ^ "Cross-Talk, A Ming Dynasty-era Art Form, Returns From the Brink — And Goes International". www.tealeafnation.com. Retrieved 2013-11-11.
- ^ Carroll, John M. (John Mark), 1961- (2007). A concise history of Hong Kong. Lanham: Rowman & Littlefield. ISBN 9780742534216. OCLC 76902041.
{{cite book}}
: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link) - ^ "Ottawa Citizen - Google News Archive Search". news.google.com. Retrieved 2021-09-26.
- ^ "Dialogue with Dashan - An inside look at Canadian Mark Rowswell's rise to fame in China". www.ualberta.ca. Retrieved 2021-09-26.
- ^ "Mark Rowswell: The only 'Chinese' performer at this year's Melbourne Comedy Festival". SBS Your Language. Retrieved 2021-09-26.
- ^
孟 令 君 . "Being Dashan - USA - Chinadaily.com.cn". usa.chinadaily.com.cn. Retrieved 2021-09-29. - ^ Hunwick, Robert Foyle (2014-05-06). "Can Stand-Up Comedy Succeed in China?". The Atlantic. Retrieved 2021-09-26.
- ^ "阎鹤
祥 :相 声 行 业在内 卷 -中新 网". www.chinanews.com. Retrieved 2021-09-29. - ^ "Canada appoints "Dashan" as Commissioner General for 2010 Shanghai Expo". ca.china-embassy.org. Retrieved 2021-09-26.
- ^ "Dashan's one-on-one with the China Institute". www.ualberta.ca. Retrieved 2021-09-29.
- ^ "Cultural ambassadors |". Week In China. 2020-07-03. Retrieved 2021-09-29.
- ^ "Comedian Jesse Appell Presents "The Great LOL of China"". www.umass.edu. 2016-11-30. Retrieved 2021-09-29.
- ^ a b Team, GCC Global (19 February 2021). "Alumni Feature – Jesse Appell – Global China Connection". Retrieved 2021-09-29.
- ^ "Find Programs". exchanges.state.gov. Retrieved 2021-09-26.
- ^ "
点 击过亿!师从丁 广泉的 "洋 北 漂"艾 杰西生 动演绎中国人 乐观抗 疫_相 声 ". www.sohu.com. Retrieved 2021-09-29. - ^
新 华网 (2021-02-23). ""美国 东北人 "艾 杰西的中 式 喜 剧情缘". finance.sina.com.cn. Retrieved 2021-09-26. - ^ Team, GCC Global (19 February 2021). "Comedy, Intercultural Communication and Global Diplomacy: An Interview with Jesse Appell – Global China Connection". Retrieved 2021-09-29.
- ^ Kanthor, Rebecca. "Amid increasing US-China tensions, humor is serious business". The World.
- ^ Mackerras, Colin (2004). The Performing Arts in Contemporary China. Routledge. pp. 102–104. ISBN 9780415361620.
External links[edit]
- China Xiangsheng Online (
中 华相声 网) (Simplified Chinese) - Tianjin Xiangsheng Online (
天津 相 声 网) (Simplified Chinese) - Comedians Workshop (based in Taiwan) (
相 聲 瓦 舍 ) (Traditional Chinese) - A Translation of a routine on "Learning Manchu" by Lei Lin, Harvard University
- Stifled Laughter: How the Communist Party Killed Chinese Humor, from Danwei.org