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((Short description|Type of Chinese comedy))
((more citations needed|date=May 2019))
((Infobox performing art
| name       = Crosstalk
| image      = [[File:天津名流茶馆的相声表演.jpg|210px]]
| upright    = 
| caption    = Xiangsheng performers in a Tianjin theater.
| medium     = Sound 
| types      = a traditional [[performing art]] in [[Chinese comedy]]
| ancestor   = 
| descendant = 
| culture    = [[Chinese culture]]
| era        = late [[Qing Dynasty]]
))((Infobox Chinese|t=[[wikt:相聲|相聲]]|s=[[wikt:相声|相声]]|p=Xiàngsheng|l=face and voice<ref name="TamWesoky2017">((cite book|author1=King-fai Tam|author2=Sharon R. Wesoky|title=Not Just a Laughing Matter: Interdisciplinary Approaches to Political Humor in China|url=https://books.google.com/books?id=wyIzDwAAQBAJ&pg=PA76|date=28 August 2017|publisher=Springer|isbn=978-981-10-4960-6|pages=76–))</ref>))

'''Xiangsheng''' (((zh|t=[[wikt:相聲|相聲]]|s=[[wikt:相声|相声]]|first=t|p=Xiàngsheng|l=face and voice))), also known as '''crosstalk''' or comic dialog,<ref name="Davis2004">((cite book|author=Edward L. Davis|title=Encyclopedia of Contemporary Chinese Culture|url=https://books.google.com/books?id=YL4GS9zju10C&pg=PT1301|date=2 August 2004|publisher=[[Routledge]]|isbn=978-1-134-54953-5|pages=1301–))</ref> is a traditional [[performing art]] in [[Chinese comedy]], and one of the most popular elements in [[Chinese culture]]. It is typically performed as a [[dialogue|dialog]] between [[Double act|two performers]], or rarely as a [[monologue|monolog]] by a solo performer (similar to most forms of [[stand-up comedy]] in [[Western culture]]), or even less frequently, as a group act by multiple performers. The Xiangsheng language, rich in [[pun]]s and [[allusion]]s, is delivered in a rapid, bantering style, typically in the [[Tianjin dialect]] (or in [[Mandarin Chinese]] with a strong [[northern and southern China|northern]] accent). The acts would sometimes include singing, [[kuaiban|Chinese rapping]], and musical instruments.

Xiangsheng has connections with the [[vaudeville]] Double act that developed in approximately the same era. Some Westerners have studied the art of Xiangsheng.<ref name=":0">((Cite web|title=Dashan - Ambassador to China's Funny Bone|url=https://www.cbc.ca/programguide/program/dashan_ambassador_to_chinas_funny_bone/?t=1538179230251))</ref><ref name=":1">((Cite web|date=2015-10-23|title=Jesse Appell - Laowai in Beijing|url=https://www.oneinabillionvoices.org/jesse-appell-full-interview-coming-up-sunday-oct-21/|access-date=2021-09-29|website=One in a Billion|language=en-US))</ref> 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]].<ref name="Dashan">((Cite web|url=http://dashan.com/?p=8508 |title=What is Xiangsheng? |access-date=2013-11-29 |publisher=Dashan Online |archive-url=https://web.archive.org/web/20131212153630/http://dashan.com/english/portfolio/crosstalk/ |archive-date=2013-12-12 |url-status=dead ))</ref> 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 ==
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, [[dialect]]s, and other sounds, as well as imitating the "singing" and actions of specific characters in traditional Chinese operas such as [[Peking opera]], [[Pingxi art|Pingxi]], and [[Bangzi art|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: 捧哏; traditional Chinese: 捧哏; pinyin: pěnggén).

==History==

=== Origins ===
Xiangsheng is generally thought to have originated in the late [[Qing dynasty|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 (1912–1949)|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]] [[Temple of Confucius|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]] (((zh|s=张三禄|t=張三祿|links=no))), who performed during the mid-19th century. Originally a performer of Ba Jiao Gu (''drum-song'') (((zh|c=八角鼓|p=bā jiǎo gǔ|links=no))), Zhang eventually switched to doing imitations and telling humorous stories. Later artists considered Zhang to have been one of the first Xiangsheng performers.

=== Xiangsheng in Chinese Mainland ===
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]]".<ref>((Cite web |url=http://bbs.eduu.com/thread-1360974-1-1.html/ |title=著名相声表演艺术家侯宝林的教子故事：要当一个艺术家 |publisher=eduu论坛 |accessdate=2013-11-12 |url-status=dead |archiveurl=https://web.archive.org/web/20121210230414/http://bbs.eduu.com/thread-1360974-1-1.html |archivedate=2012-12-10 ))</ref>

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 [[CCTV New Year's Gala|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 (comedian)|Jiang Kun]].<ref>((Cite web|url=http://www.tealeafnation.com/2013/01/cross-talk-a-ming-dynasty-era-art-form-returns-from-the-brink-and-goes-international/ |title=Cross-Talk, A Ming Dynasty-era Art Form, Returns From the Brink — And Goes International |publisher=www.tealeafnation.com |accessdate=2013-11-11))</ref>

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: 相声有新人) and "Happy Comedian" (Chinese: 欢乐喜剧人), both hosted by Guo Degang.

=== Xiangsheng in Taiwan ===
In 1949, a group of Xiangsheng performers followed the Republic of China's retreat to [[Taiwan]]. The same year, [[Chen Yian]] (Chinese: 陳逸安), Wei Longhao (Chinese: 魏龍豪), and [[Wu Zhaonan]] met and hosted a Xiangsheng show on the [[Broadcasting Corporation of China]] and Taiwan Police Radio (Chinese: 警察廣播電台). After 1967, he((Who|date=September 2019)) began collecting data to produce "Xiangsheng Collections", "Xiangsheng Highlight", "Xiangsheng Anecdote", and "Rediscovery of Xiangsheng".

Initially, Xiangsheng's main audience was [[Internal migration|internal immigrants]], mainly from [[military dependents' village]]s. In 1985, the performance workshop Biao Fang (Chinese: 表演工作坊) launched ''That Night, We Speak Xiangsheng'' (Chinese: 那一夜，我們說相聲), a play performed by Li Liqun (Chinese: 李立群) and Li Guoxiu (Chinese: 李國修), which caused a stir.

In 1989, Biao Fang launched the stage play ''Tonight, Who Speaks Xiangsheng?'' (Chinese: 這一夜，誰來說相聲), which was performed by Li Liqun (Chinese: 李立群), Jin Shijie (Chinese: 金士傑), and [[Chen Lihua actor|Chen Lihua]] (Chinese: 陳立華). Numerous other plays were produced, including:

* ''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 Min-jan|Ni Minjan]]).

In 2005, ''This Night, Women Speak Xiangsheng''—performed by [[Fang Fang actress|Fang Fang]] (Chinese: 方芳), [[Deng Chenghui]] (Chinese: 鄧程慧), and [[Xiao Ai Xianghsheng|Xiao Ai]] (Chinese: 蕭艾)—was launched. Although all these plays were claimed to be Xiangsheng,((By whom|date=September 2019)) they were actually [[theater]] performances.

In April 1988, Feng Yugang and Song Shaoqing (Chinese: 宋少卿) formed Comedians Workshop, which aimed to merge theater with Xiangsheng. Huang Shiwei (Chinese: 黄士伟) joined in 2001. On July 8, 2004, Comedians Workshop assisted Dream Theater to perform ''Give Me a Tape.''

In 1993, [[Liu Zengqi]] (Chinese: 劉增鍇) and [[Lin Wenbin]] (Chinese: 林文彬) founded the Taipei Musical Art Troupe. In addition to Xiangsheng, they also introduced many Chinese traditional [[Quyi]] (a traditional form of Chinese art), such as Shuanghuang (Chinese: 双簧), [[Pingshu]] (Chinese: 评书), [[Shulaibao]] (Chinese: 数来宝), [[Kuaiban]] (Chinese: 快板书), Jingyun drum (Chinese: 京韵大鼓), Meihua drum (Chinese: 梅花大鼓), Xihe drum (Chinese: 西河大鼓), Danxian (Chinese: 单弦), and Taiping lyrics (Chinese: 太平歌詞), which have also promoted the exchange of performances between Taiwan and [[Mainland China]].

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: 双簧), Pingshu (Chinese: 评书), Shulaibao (Chinese: 数来宝), Kuaiban (Chinese: 快板书), Danxian (Chinese: 单弦), Taiping lyrics (Chinese: 太平歌詞), and Peking opera.

=== Xiangsheng in Hong Kong ===
[[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,<ref>((Cite book|url=https://www.worldcat.org/oclc/76902041|title=A concise history of Hong Kong|last=Carroll, John M. (John Mark), 1961-|date=2007|publisher=Rowman & Littlefield|isbn=9780742534216|location=Lanham|oclc=76902041))</ref> 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 show]]s. 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. ((Clarify|reason=|date=September 2019))

=== Xiangsheng in Malaysia (Overseas Chinese) ===
After the [[Chinese Civil War]], a number of performers from [[South China]] traveled to [[Malaysia]] for development (before [[Singapore in Malaysia#Expulsion|Singapore's expulsion from Malaysia]]). [[Feng Xiang]] (Chinese: 冯翔), [[Bai Yan (actor)|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 ===
In 1984, 19-year-old [[Canadians|Canadian]] [[comedian]] Mark Rowswell started learning [[Chinese language|Chinese]] at the [[University of Toronto]].<ref>((Cite web|title=Ottawa Citizen - Google News Archive Search|url=https://news.google.com/newspapers?id=x8gyAAAAIBAJ&sjid=Ou0FAAAAIBAJ&pg=1193,8094595&dq=mark+rowswell&hl=en|access-date=2021-09-26|website=news.google.com))</ref><ref>((Cite web|title=Dialogue with Dashan - An inside look at Canadian Mark Rowswell's rise to fame in China|url=https://www.ualberta.ca/international/about-uai/international-news-and-views/news/2018/june/dashan-mark-rowswell.html|access-date=2021-09-26|website=www.ualberta.ca|language=en))</ref> After graduating in 1988, he went on to study Xiangsheng at [[Peking University]] with a Chinese comedian and Xiangsheng master, Jiang Kun (姜昆).<ref>((Cite web|title=Mark Rowswell: The only 'Chinese' performer at this year's Melbourne Comedy Festival|url=https://www.sbs.com.au/language/english/audio/mark-rowswell-the-only-chinese-performer-at-this-year-s-melbourne-comedy-festival|access-date=2021-09-26|website=SBS Your Language|language=en))</ref> He started using the Chinese name '[[Dashan]]' (大山), now a household name in China.<ref name=":0" /> Dashan has consistently improved his Chinese over thirty years, frequently appearing on national Chinese television.<ref>((Cite web|last=孟令君|title=Being Dashan - USA - Chinadaily.com.cn|url=http://usa.chinadaily.com.cn/a/201604/22/WS5a30e1d2a3108bc8c672fe53.html|access-date=2021-09-29|website=usa.chinadaily.com.cn))</ref> His career has consisted of a wide variety work, not just Xiangsheng, and in recent years he has gravitated more towards Western-style [[stand-up comedy]] in Chinese, with elements of Xiangsheng incorporated into the act.<ref>((Cite web|last=Hunwick|first=Robert Foyle|date=2014-05-06|title=Can Stand-Up Comedy Succeed in China?|url=https://www.theatlantic.com/international/archive/2014/05/can-stand-up-comedy-succeed-in-china/361801/|access-date=2021-09-26|website=The Atlantic|language=en))</ref><ref>((Cite web|title=阎鹤祥：相声行业在内卷-中新网|url=https://www.chinanews.com/yl/2021/03-29/9442456.shtml|access-date=2021-09-29|website=www.chinanews.com))</ref> Dashan has served informally as a cultural ambassador, using his work to help bridge cultural gaps between [[Canada]] and [[China]].<ref>((Cite web|title=Canada appoints "Dashan" as Commissioner General for 2010 Shanghai Expo|url=http://ca.china-embassy.org/eng/zjgx_1/zzwl/t563217.htm|access-date=2021-09-26|website=ca.china-embassy.org))</ref><ref>((Cite web|title=Dashan's one-on-one with the China Institute|url=https://www.ualberta.ca/china-institute/news/the-latest/2018/june/dashan-visit.html|access-date=2021-09-29|website=www.ualberta.ca|language=en))</ref><ref>((Cite web|date=2020-07-03|title=Cultural ambassadors ((!))|url=https://www.weekinchina.com/2020/07/cultural-ambassadors/|access-date=2021-09-29|website=Week In China|language=en-US))</ref>

In 2012, American comedian Jesse Appell, known as Ai Jiexi (艾杰西) in China, started on his journey with Xiangsheng.<ref>((Cite web|date=2016-11-30|title=Comedian Jesse Appell Presents "The Great LOL of China"|url=https://www.umass.edu/hfa/news/comedian-jesse-appell-presents-%E2%80%9C-great-lol-china%E2%80%9D|access-date=2021-09-29|website=www.umass.edu|language=en))</ref> Originally from [[Boston]], [[Massachusetts]], Appell went to [[Brandeis University]] where he joined the [[Global China Connection]] (GCC) and regularly performed stand-up comedy.<ref name="Team">((Cite web|last=Team|first=GCC Global|title=Alumni Feature – Jesse Appell – Global China Connection|date=19 February 2021 |url=https://gccglobal.org/alumni-feature-jesse-appell/|access-date=2021-09-29|language=en-US))</ref> He went to China in September 2012 to study Chinese at [[Tsinghua University]] as a [[Fulbright Program|Fulbright Scholar]].<ref name=":1" /> There, he improved his Chinese and was awarded the Critical Language Enhancement Award (CLEA).<ref>((Cite web|title=Find Programs|url=https://exchanges.state.gov/us/program/fulbright-us-student-program|access-date=2021-09-26|website=exchanges.state.gov|language=en))</ref> As part of his Fulbright Scholarship, he studied Xiangsheng with a master of the craft, [[Ding Guangquan]] (丁广泉).<ref>((Cite web|title=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|url=https://www.sohu.com/a/www.sohu.com/a/378516544_99922437|access-date=2021-09-29|website=www.sohu.com|language=en))</ref> Appell founded a [[comedy]] center, LaughBeijing, that hosted over 300 shows per year in Beijing from 2016 to 2020.<ref name="Team"/> Some of his work today also focuses on bringing the Western-style stand-up comedy to China.<ref>((Cite web|last=新华网|date=2021-02-23|title="美国东北人"艾杰西的中式喜剧情缘|url=https://finance.sina.com.cn/tech/2021-02-23/doc-ikftssap8290544.shtml|access-date=2021-09-26|website=finance.sina.com.cn))</ref> He sees himself as a cultural ambassador, combining his talents with the power of the [[Internet]] to help [[China–United States relations|U.S.-China relations]] and bridge cultural gaps.<ref>((Cite web|last=Team|first=GCC Global|title=Comedy, Intercultural Communication and Global Diplomacy: An Interview with Jesse Appell – Global China Connection|date=19 February 2021 |url=https://gccglobal.org/comedy-intercultural-communication-and-global-diplomacy-an-interview-with-jesse-appell/|access-date=2021-09-29|language=en-US))</ref><ref>((Cite web|last=Kanthor|first=Rebecca|title=Amid increasing US-China tensions, humor is serious business|url=https://www.pri.org/stories/2020-10-07/amid-increasing-us-china-tensions-humor-serious-business|website=The World))</ref>

=== As social commentary ===
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.<ref name="Mackerras">((cite book | title=The Performing Arts in Contemporary China| url=https://books.google.com/books?id=S2CEqPGpyioC| last=Mackerras| first=Colin| year=2004| pages=102–104| publisher=Routledge|isbn = 9780415361620))</ref>

== Xiangsheng classifications ==

=== By number of actors ===
* 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 ===
* Ironic Xiangsheng: performers criticize themselves, others, or concepts, such as Hou Baolin's [[Walking in the dark xiangsheng|'' Walking in the dark'']] (Chinese:夜行记) (criticizes people who do not follow the traffic rules), Jiang Kun and ((ill|Li Wenhua (film director and politician)|lt=Li Wenhua|zh|李文化))'s [[Photograph xiangsheng|'' 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 Jingjiu|'' Story of Beijing–Kowloon railway'']] (praises the constructor of [[Beijing–Kowloon railway]])
* Entertaining Xiangsheng: performers aim to entertain, such as [[Speaking in tongues xiangsheng|''Speaking in tongues'']]

=== By chronology ===
* Tradition Xiangsheng: in the [[Qing dynasty|Late Qing Dynasty]]
* New Xiangsheng: after 1949
* Contemporary Xiangsheng: after 1980

=== By genre ===
* 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==
<br />((unreferenced section|date=September 2018))
*[[Zhang Sanlu]] (((zh|s=张三禄|t=張三祿|links=no))) 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]] (((zh|s=阿彦涛|t=阿彥濤|links=no))) 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.((Clarify|reason=|date=September 2019)) 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 (((zh|s=刘宝瑞|p=Liú Bǎoruì|links=no)))
*Ma Ji
*[[Chang Baohua]]
*[[Ding Guangquan]]
*[[Jiang Kun (comedian)|Jiang Kun]]
*[[Hou Yaowen]]
*[[Guo Qiru]]
*[[Dashan]] (Mark Rowswell)
*[[Feng Gong]]
*[[Guo Degang]]
*[[Yu Qian (comedian)|Yu Qian]] (((zh|s=于谦|p=Yú Qiān|links=no)))
*[[Yue Yunpeng]]
*[[Sun Yue (comedian)|Sun Yue]] (((zh|s=孙越|p=Sūn Yuè|links=no)))
*[[Feng Yi-kang]] (((zh|s=冯翊纲||t=馮翊綱|links=no)))
*[[Sung Shao-ching]] (((zh|c=宋少卿|links=no)))
*[[Lee Li-chun]] (((zh|c=李立群|links=no)))
*[[Liam Bates|Li Mu (Liam Bates)]] (((zh|c=李牧|p=Lǐ Mù|links=no)))

==See also==
((Portal|China|Comedy))

*[[Manzai]]
*[[Rakugo]]
*[[Shuochang]]
*[[Kouji]]
*[[Shulaibao]]
*[[Double act]]
*[[Pingshu]]

==References==
((Reflist))

==External links==
((Commons category))
*[http://www.xiangsheng.org/portal.php China Xiangsheng Online] (((lang|zh-hans|中华相声网))) (Simplified Chinese)
*[https://web.archive.org/web/20131111154813/http://xs.tianjinwe.com/ Tianjin Xiangsheng Online] (((lang|zh-hans|天津相声网))) (Simplified Chinese)
*[http://www.ngng.com.tw Comedians Workshop (based in Taiwan)] (((lang|zh-hans|相聲瓦舍))) (Traditional Chinese)
*[http://www.manchustudiesgroup.org/2013/03/16/learning-manchu-through-comedy/ A Translation of a routine on "Learning Manchu"] by Lei Lin, Harvard University
*[https://web.archive.org/web/20060523083514/http://www.danwei.org/tv/stifled_laughter_how_the_commu.php Stifled Laughter: How the Communist Party Killed Chinese Humor, from Danwei.org]

((Chinese opera))
((Comedy footer|state=collapsed))
((Authority control))

[[Category:Xiangsheng| ]]
[[Category:Chinese comedy duos| ]]
[[Category:Stand-up comedy]]

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