#长文创作激励计划#
Ten years ago, I happened to hear a radio commentary in a taxi in Beijing, the speaker looked like a stand-up king Liu Baorui, a little tone, I was busy asking the driver who the broadcaster was, he said that his name was "Wang Yuebo", this name was still very unfamiliar to me at the time, and the next few years basically became my first choice for listening to the commentary.
I have the impression that I don't listen to storytelling when I go to college, first, mobile phones have gradually replaced radios, and second, the older generation of storytelling artists Jiang Lang has exhausted his talents. Even her elderly grandmother is less interested in storytelling, in her words: "It's all old books, and I have listened to them too many times." ”
Therefore, Wang Yuebo, a post-70s storytelling artist, has filled the gap of a new generation of storytelling, and it is obviously an exaggeration to say that Wang Yuebo's storytelling level has surpassed that of Shan Tianfang, but some of Shan Lao's shortcomings can indeed be found from his commentary. And Wang Yuebo's storytelling style can be said to be two directions with Shan Lao, so you can also hear Wang Yuebo ridiculing Shan Lao's storytelling style in and out of his storytelling, although he did not name him, but he can still hear that it is Shan Lao.
Wang Yuebo's godmother is the storytelling master Lian Liru, in the past twenty or thirty years, Shan Tianfang has dominated the storytelling industry, although the major storytelling artists have their own food, but compared with Shan Lao, it is still much inferior. And Lian Liru's storytelling style is very different from that of Shan Boss, and we don't know whether Wang Yuebo, as an apprentice, is suspected of complaining about his godmother. In short, Wang Yuebo doesn't seem to be so convinced of Shan Lao's storytelling attainments, and judging from the styles of the two, this is indeed the case.
For listeners with strong compatibility, you can enjoy the storytelling of two generations of artists at the same time, but for discerning listeners, often Wang Yuebo and Shan Tianfang cannot coexist, and the difference in their styles is reflected in all aspects. First of all, in Wang Yuebo's words, when describing the fight between two people, some artists often use ventriloquism to imitate the sound of "shu, shu, shu", which he thinks is ridiculous. And he often doesn't have much description of the fight scenes, basically talking about the result directly and ignoring the process, which is somewhat similar to Gu Long's style.
It doesn't matter who is right and who is wrong, but it is obvious that Wang Yuebo has some criticisms of Shan Lao's commentary. Of course, Shan Lao's description of the fight scene is not too long, the most characteristic is Tian Lianyuan, who will tell both of them about their moves, and if it is a TV commentary, he will also perform it in combination with his figure. As for which style is better, it's up to everyone, I tend to Shan Lao and Tian Lianyuan's way, after all, the fight scenes are the most exciting part of the martial arts storytelling, how can you pass by?
There is also a big difference between the two in terms of language style, Shan Lao pays attention to the tone and frustration, which is his biggest characteristic, although the voice is not good, but it is very infectious, and can grab the attention of the audience. And Wang Yuebo's tone sometimes feels a little listless, especially many of his commentaries are recorded on the spot, so the sound quality is not as good as in the recording studio, and the noisy environment and poor recording environment make people feel a bit messy when speaking.
Some people think that it is easy to fall asleep listening to Wang Yuebo's commentary, but I didn't agree at first, because the most hypnotic person in my impression should be Mr. Yuan Kuocheng. Old Man Yuan spoke slowly, and his voice was hoarse, old-fashioned, and sometimes in a half-asleep state, he heard Yuan Lao suddenly continue to speak, thinking that this paragraph of the book was finished. But Wang Yuebo's storytelling also has this problem, first of all, the noisy recording environment makes it difficult for the audience to concentrate, and the second is that Wang Yuebo does not speak as powerful as Shan Lao.
But Wang Yuebo's advantage lies precisely in this, taking his masterpiece "Yongzheng Swordsman" as an example, completely throwing off the old street. The characters in it are extremely rich, the story is intertwined, and it echoes before and after, especially the bookish boy Lin is not a face-painted character, so it sounds exciting. And Shan Lao's "The Biography of Tong Lin" is also excerpted from "Yongzheng Swordsman", obviously he deleted most of the content in the book, so Tong Lin became a person with an extremely perfect personality.
This is a common problem of Shan Lao's storytelling - the characters are face-painted. There are few people who are both good and evil in his commentaries, and even if there is, he will try to help clear his name, for example, Luo Cheng is actually a controversial figure with mixed reputations, but in his mouth, Luo Cheng basically has no other characteristics except for being handsome and ruthless. In fact, Luo Cheng in the book is a narrow-minded person, he and his cousin Qin Qiong taught each other martial arts, Luo Cheng left three moves, and the second brother Qin Qiong of Zhongyi actually left three moves.
And these ugliness of human nature are reserved for bad people in Shan Lao's commentary, so Shan Lao's "Romance of the Sui and Tang Dynasties" does not have a bridge where Luo Cheng and Qin Qiong leave each other's tricks, but it has become a gift to each other. Qin Qiong has become a flawless person, which can be called the Sui and Tang versions of Guan Gong.
Tong Haichuan in "The Legend of Tong Lin" is already honest to the point of being stupid, and he will never make a move if he is not bullied to the point that there is no way out, and even if he does, he will be merciful. And Tong Lin in "Yongzheng Swordsman" is actually a short-tempered, self-righteous and reckless man, which is actually more in line with the character, after all, how can a middle-aged martial arts master in his thirties and forties have no temper at all? This shows that Wang Yuebo is often more three-dimensional and objective in the portrayal of characters, and such examples abound.
The master and apprentice of Shengying in "Three Heroes Sword" are also Tonglin-like characters in Shan Lao's mouth, and they are also people who will never make a move if they are not forced to be in a hurry. And the real image of Shengying in "Three Heroes Sword" is actually a jealous and narrow-minded person, of course, he is still a good person, but he is not so perfect. Shengying in Shan Lao's mouth was to teach Qin Tianbao who did bad things and killed the other party with a dart, he regretted it very much, and fed the son of his brother Qin Tianbao, the flying rat Qin Yan's family, but the latter took revenge and framed Shengying all his life, but Shengying still let it until he died.
This plot obviously doesn't make sense, and in the original book of "Three Heroes and Swords", Shengying actually deliberately killed his brother Qin Tianbao, because Shengying's dart skills have reached the peak and can be sent and received freely, how could he accidentally kill his eighth brother? In the later plot, Seungying's dart can be recovered instantly even after it is shot, so it is impossible for him to miss it.
Not only that, Hu Jingchun wanted to learn martial arts from Shengying, but Shengying also agreed on the surface, but in fact he didn't teach at all, and even his senior brother Xiahou Shangyuan couldn't stand it. But none of these plots exist in Shan Lao's ordinary books, and in Shan Lao's other commentary, "Serial Sets", Shengying's master and apprentice are said to be lackeys of the Qing court. Although he didn't mention Shengying too much, Huang Santai also became very treacherous, and Shengkui was not a good person, and he made a 180-degree turn and contradicted himself.
From the perspective of character creation, Shan Lao is indeed inferior to Wang Yuebo. However, Wang Yuebo's portrayal of some characters is too complex, which leads to the hypnosis mentioned above. Or "Yongzheng Swordsman", a talk about more than ten years, from youth to middle-aged, said that the good one is called ten years of grinding a sword, and the ugly one is called "grinding foreign workers", we like rich stories and characters, but if there is too much story context, there will be the problem of putting the cart before the horse, and the tail is not down.
I began to think that "Yongzheng Swordsman" was not Tong Lin's one-man show, it was very interesting. But later I found that Tong Lin's scenes were too few, and he might not be heard in more than a dozen talks, but there were too many branch stories, so I didn't know where I heard it. Of course, after all, Wang Yuebo is commenting on stories in a teahouse, not afraid of wasting time, afraid of having no books to say, which is understandable, and at the same time, telling stories in a teahouse is also worthy of praise.
If you listen to both Shan Tianfang and Wang Yuebo's storytelling, you will find that the two happen to complement each other, so it is difficult for some listeners to coexist, because they are two completely different forms of storytelling. In fact, if you can be more tolerant, the existence of two storytellers is good for the audience, after all, there are very few good storytellers, and the two can do the same thing to say the same book, giving people the feeling that two books are indeed completely different. It's up to us what the audience can get from it.
Shan Lao's storytelling is often black and white, good people are often flawless, and bad people are often bad to the end. Just like Shengying and Jia Liulou's forty-six friends, who are highly respected by Shan Lao, they are all scorned in Wang Yuebo's mouth. Wang Yuebo once said that he didn't like the humanity of Shengying's master and apprentice, so he didn't say "Three Heroes Sword", because the book was not human, and he hated it. And the same is true of the forty-six friends of Jia Liulou, everyone is buddies on the surface, but in fact, they restrain each other and kill each other.
Objectively speaking, Wang Yuebo is right. Because although these are fictional characters, there are original books to check after all. Shengying's master and apprentice were originally very controversial figures, and for the people of the rivers and lakes, it was a very despicable thing to be an eagle dog for the Qing court, but here in Shan Lao, these people have become good people who never make mistakes. Take Huang Santai as an example, it is completely a copy of Shengying, he is loyal and honest, courteous and humble, in fact, Shengying is the same as his master, jealous and jealous.
And there is such a sentence in the market: "I would rather learn the three righteousness of Taoyuan, and not learn the incense of Wagang." It shows that the forty-six friends who kowtow in Wagangzhai were originally cannibalistic, each with their own masters, so they are not worthy of praise. But in Shan Lao's books, they all became involuntarily. For example, Luo Cheng killed Shan Xiongxin out of necessity, due to pressure, and Qin Qiong happened to be absent. In fact, the situation is that Qin Qiong has long been holding back to kill Shan Xiongxin, and Qin Qiong has already taken refuge in the Tang Dynasty, so he doesn't want to intercede for Shan Xiongxin, so he hid under the pretext.
For many reasons, after listening to too many of Shan Lao's commentaries, he will feel that they are the same, particularly exaggerated, and the plot is untenable. And Wang Yuebo is much better in this regard, but Wang Yuebo's problem is that sometimes he is too verbose, some people like to listen to him, and some people don't. Shan Lao's storytelling is often more refined, and many plots are straight to the topic, so the rhythm is brighter, with a magnetic voice, and the feedback is very good. But it also bores the audience because the characters are too stiff.
In short, although the two are not in the same position in the storytelling industry, Wang Yuebo, as a new generation of storytelling geniuses, has a great opportunity to go further. The two generations of storytellers have different experiences and values, which leads to their storytelling being more like the positive side of a coin that will never intersect.