Jiang Kun’s new book is a platform for everyone in Quyi – Entertainment – CGTN

Original title: Jiang Kun’s new book is a platform for everyone in Quyi

Text/Beijing Youth Daily reporter Zhang Enjie

Following the release of his new book “Jiang Kun’s Autobiography” in May last year, cross talk artist Jiang Kun released a new work “A Platform for Quyi Masters: Jiang Kun’s Preface and Postscript” at the end of September this year, which was published by Baihua Literature and Art Publishing House. This is Jiang Kun’s first preface and postscript in more than 20 years. Collected and published.

“Standing for Quyi Masters: Jiang Kun’s Preface and Postscript Collection” includes Jiang Kun’s works and works by Zhang Shouchen, Guo Qiru, Shan Tianfang, Wang Yubao, Chen Yongquan, Li Boxiang, Wei Wenliang, Liang Zuo, Chang Baofeng, Chang Guitian, Sun Chen, etc. The prefaces or postscripts he made involve crosstalk, storytelling, allegro, Beijing rhyme drums, Shandong Kuaishu, Nanyin and other genres of quyi, which not only demonstrate the splendor of the development of quyi in the past two decades, but also return to the audience through quyi artists, quyi affairs, and quyi feelings. Looked at the rut of Quyi.

Sun Fuhai, the former secretary of the party group of Tianjin Federation of Literary and Art Circles and a master of quyi, wrote a preface to “Jiang Kun Preface and Postscript”, saying that Jiang Kun’s brushwork sometimes uses simple language to sketch or silhouette narrative, which is very interesting. For example, in the preface of the book “On Li Boxiang’s Art of Cross Talk”, the first sentence of the book is, “Beijing cross talk fans especially like Mr. Li Boxiang’s performance style. Often, when Mr. Li does not appear on stage, the audience is already grinning and waiting to laugh. That’s it.” Li Boxiang’s artistic image is thus presented to the readers. In Jiang Kun’s writings, Mr. Li Boxiang not only has a quick mouth, but also has a quick mind. He usually pays great attention to accumulation, loves reading books and newspapers, and is familiar with some obscure foreign names and place names. When he goes to perform in other places, he always conducts field inspections first, and temporarily adds burdens based on local characteristics, so as to win the love of audiences everywhere. In this regard, Sun Fuhai believes that this way of writing is quite clear and lovely, and it is these “involved and accidental” things and people that organically connect people and images, and are full of charm.

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In addition, in the writing style of this new work, Jiang Kun occasionally uses parallel sentences to show his literary style: for example, in the preface written for Chang Baofeng’s “My Father Chang Lian’an”, the history of the “Chang’s family” in the development of cross talk is listed. The “Twelve Firsts” in the book are interlocking and fascinating, and are also a theoretical summary of the contribution made by the “Chang Family”.

In the choice of words and sentences, Jiang Kun sometimes used the straightforward “awesome” and “a rare good book, I recommend everyone to read it”. In Sun Fuhai’s view, this kind of “scream” without hesitation attracts many readers to watch. Sun Fuhai also said frankly that his book “I’m Not Talking About You – Anecdotes in the Cross Talk World” has been republished five times after Jiang Kun’s “cry”.

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