Passing down traditional performing arts
Between 1976 and 1992 Wu and Wei produced a series of 48 tapes containing 250 crosstalk dialogues. They were mostly segments from their old radio shows. A source of great enjoyment for people now in their 50s and older, they have also served as models for a great many. Performers for groups such as the Taipei Quyi Troupe, Comedians Workshop, and the Hanlin Folk Arts Storytelling Troupe, including Guo Zhijie, Feng Yigang and others, have all studied these segments before creating their own dialogues.
As early as 1979, Wu’s contributions to traditional performing arts were recognized with a Folk Art Heritage Award from the Council for Cultural Affairs. In 1999 Wu’s longtime collaborator Wei passed away, and Wu became conscious of the urgent need to start passing along the dying art of crosstalk. He took on Hou Guanqun, Lang Zuyun, Liu Zengkai, Liu Erjin, Fan Guangyao and others as students. In 2009 Wu won a Golden Melody Lifetime Contribution Award.
Although he has been famous in the Chinese-speaking realm for half a century as a result of his crosstalk performances, his friends often say: “Wu is a Peking Opera fanatic—that’s his true love!” Once you get him talking about the Peking operas he loves, he can keep going for hours.
The Guoguang Opera Company’s Ma Baoshan, who has directed Wu in rehearsals of the opera Flour Vat, points out that Wu is very articulate and has a strong and clear voice, making him particularly well suited to the rhythms of authentic Peking Opera. When performing, he quickly gains the audience’s attention.
What has impressed Ma even more is that Wu never has to look at the script when rehearsing. The lines slip fluently from his mouth because they’ve all been committed to memory over so many years of performing Peking Opera and crosstalk dialogues.
Although a wizened senior, Wu has a seriousness and commitment that offers lessons to his juniors.
Performers of clown roles have to make themselves up to look as ugly as possible. They move with exaggerated motions and walk stooped over. They often get slapped or must fall off of chairs.
Last year, when performing Flour Vat, in several scenes Wu had to crouch under a table for ten minutes at a time. In consideration of his age Ma said, “Let’s make this easier for you.” But Wu was adamant that they had to play it the right way and refused to complain about any discomfort, going under the table whenever it was required. “When it comes to faithfully representing a role, younger performers can learn a lot from him.”
After Wu Zhaonan emigrated, he continued to perform crosstalk and Peking Opera for the overseas Chinese community in the United States. The photo shows a performance of Borrow for the New Year.