My opinion on the performance of gender standardization
In film and television dramas, it is our pursuit to create a three-dimensional, personalized and artistic image that can impress the audience. For example, how to grasp the internal and external characteristics of the role in creation, and show it in a vertical way, distinguish him from others like others, and form his unique actions, words and thoughts, how to distinguish actors from roles in performance, and create an image on the silver screen instead of showing himself to the audience.
The answer to the above two questions is-personality.
1. Gender is the most important and significant psychological feature of a person's personality.
Gender plays a central role in one's personality, which is a unique combination of one's nature and a manifestation of one's difference from others. We all have our own unique and different reactions to the influence that Zhou Wei has exerted on him. This reaction not only shows what he is doing, but also shows how he did it. "What to do" reflects human activities. "How to do it" reflects people's activities. A person's attitude and reaction to something, if it has been consolidated through life experience, will become a person's character. Engels said: "A character's personality is not only reflected in what he is doing, but also in what he is doing." ① Different.
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(1) complete set of engers.
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My opinion on gender standardization in Chen Kun
People of both sexes are different from individual people because of their different education and living environment, and their emotional reactions to the same thing cannot be the same. I remember a cartoon like this: a fly flies into a glass of beer and has different reactions to this country:
A. English people are more elegant and scholarly, and they don't drink a cup.
B. French people, with a strong sense of silence, will pick up a cup to watch flies swim without drinking.
C. Being interested in others, because of sexual passion, will save the pale flies, watch the pale flies climb onto the table and drink beer at the same time.
I wonder if a China person can ask such a question face to face, and let the manager hold the cup, look at the flies and smile helplessly at the guests. Although this is just a joke, this example describes the gender of people very vividly.
Since there is such a situation in our life, what should we do when creating a character?
Stani said, "Without sexual characteristics, there is no role." A real artist and a good actor must have a pair of sharp eyes to show off the existing style and get rid of it. Many of our expressionists, such as Zhuo Beilin and Yu Yu, have amazing ability to carve characters. They observe, analyze and live with real creative methods, and create accurate, vivid and unforgettable corner colors. These characters are unique, unique, and there is no harm in having a thousand people. Therefore, the actor's search for gender is an important symbol to measure an actor's performance skills. It is of great significance for actors to create roles, so how to do it?
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(1) The Complete Works of Stanley. The second book.
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The fourth stage of video performance
Second, seek the path of personality specialization.
The first creation of personification is written by the playwright in the script, and the sexualization of the actor's second creation needs to be completed through action. As Hegel pointed out, "it is action that can clearly show a person's gender, thoughts and goals, and the deepest side of a person can only be seen through action." The same is true of the gender of expression.
(1) Gender can be divided into external gender and internal gender.
Internalization is the psychological basis of externalization. The outer case describes the invisible inner state of the character and conveys this state to the audience. Without external form, neither the character's internal lattice characteristics nor his internal state can be accurately conveyed to the audience. Because the relationship between the two is so close and indispensable, on the basis of internal and external physical examination, strengthening the search for external personality can make personality shine in the performance.
(B) the strong tone of the external lattice
"In order to explore the external image, we put on all kinds of clothes, shoes and pads, stick our noses and beards, put on wigs and hats, hoping to capture the appearance and sound and feel the body of the characters from a biological point of view. We only rely on occasional opportunities, and in order to find such opportunities, we have conducted a series of rehearsals. However, a bad method can't be seen without its advantages. Take it for example, the actor learned the externalization of the palm image, which is an important direction of the actor's creation. " (1) The externalization of this image is the initial requirement of externalization, and all actors should be externalized-of course, this does not mean externalization, but internalization, but even in appearance, actors should always be separated from themselves. This does not mean that he should lose his personality and charm; In other words, he should find his own charm and personality in every role, and he should be different in every role.
(1) The Complete Works of Stanley. Volume one.
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My opinion on gender standardization in Chen Kun
It is necessary to visualize the external lattice. I think it is necessary to make a detailed analysis of the angles and colors I want to shape in the play. What occupation he comes from, his age, his environment, his education ... everything related to it, but then he draws nourishment from himself or others, from life and life experience, from other arts, develops his imagination, makes the external images of angular colors hook up in his brain, and creates typical characters in combination with the prescribed situations provided by drama.
For example, in the drama Peking Man, I played Wen Qing, which shows that he is a rich boy, with a very virtuous wife and son, a strict father and mother, and a poor family. So in the initial rehearsal, I only found Wen Qing's illness, which is indisputable, but because I didn't dig deep into the role, the Wen Qing I created was very superficial. I once again focused on Wen Qing's character's tone, strengthened the shaping of the character's heart and details, and looked for his "long gown and thin clothes, elegant literary atmosphere, empty eyes, and the smoked outer surface" to find out why Wen Qing was like this. Once over 40 years old, his inner world was extremely lonely and lonely under the pressure of his father who only cared about painting his coffin and wood and his wife and children who only cared about taking care of himself. His talent and spirit are wasted, because he doesn't know the sound. He had to escape, escape with the help of huge smoke, escape from the gloomy reality and the days without dawn. His body was blackened by smoke, and he was depressed because he didn't have the courage to face up to Su Fang's feelings. The position of such a sad person in such a closed family makes him have a different relationship with the people around him. After finding these psychological evidences, his heart became full and active, and then he excavated his unique external movements, which was as intoxicated as a child when he played with pigeons. At this time, he will put the bitter reality behind him, and after the pigeon cage is snatched away by big milk, he will fall into the dark reality again. This transformation of characters from front to back will form some contrasts, and the characteristics of characters will suddenly appear, so that Wen Qing basically stands on the stage.
If we are looking for the external action of the characters, we have to emphasize it, and we must also explore the internal evidence of the characters more deeply. The inner part of the character mentioned here is what we often call a physical examination, "emotional indifference, external appearance." In other words, this is
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The fourth stage of film and television performance
What you get determines what you can show. In the creation of an actor, from the beginning of touching the script to the completion of the role creation, that is to say, the whole process of an actor's pregnancy is inseparable from the physical examination. The physical examination mentioned here includes not only my feelings for the role, such as my love and hate for the role I play, but also the actor's feelings for the inner life and feelings of the role, that is, the emotional examination of the emotional environment in which the role is located. Without a physical examination, there is no way for an actor's creation to go on, and there is no way to find an accurate expression. Therefore, in a sense, experience is the foundation, because it gives people a real life. People who leave the physical examination center can only show a body in a very pale way, or they can replace the accurate, vivid and dynamic external body produced on the basis of physical examination with some models that they have long been accustomed to. As a result, the characters he created can only be farther and farther away from the hearts of the audience. Therefore, in the performance creation, actors can examine the inner feelings and feelings of the characters as deeply as possible, so as to distinguish the authenticity of the actors in the performance.
(3) Physical examination is the foundation, and physical performance can only be produced on the basis of physical examination.
This is not to say that with the internal examination of personality, the external performance of personality will naturally occur, especially the accurate, vivid and dynamic performance. If any actor wants to get accurate expression in his performance, on the one hand, he must train the expressive force of words, body and emotion, so that he can rely on the material when expressing his inner body and mind, whether he can be self-sufficient when expressing subtle emotions or great excitement; On the other hand, on the basis of physical examination, actors need to repeatedly look for external forms that can best express their inner and physical examination. If there is no rich internalization, then his externalization will be pale, or there will be no sexualization. "On the stage, you can create and produce images with external characteristics such as businessmen, soldiers and farmers." Even the most subtle observation, it is not difficult to identify the typical flattering, temperament and habits of people at different levels. For example, soldiers are always straight, and walking is like practicing footwork, which is different from ordinary people. When they touch their heels, their horses will sting.
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My opinion on gender standardization in Chen Kun
The ring ... Wait. When you walk, your family always wears hats and gloves, monocles, and so on. This cutting method is a "one-size-fits-all" carving method, which seems to have created a gender feature. In fact, this is a lifeless craft tradition. In all theaters, this kind of "performance" shows your family. This is not a living person, but just an actor's performance. (1) It can be seen that the craftsman's artistic performance, with external shaping and no internal physical test, cannot win the hearts of the audience. So this kind of externalization can only be produced on the basis of internalization.
Third, the two-way integration of role lattice and actors
Stanny thinks sexualization is the kind of mask used to hide the identity of an actor (mask and avatar are synonyms for sexualization). Under this mask, he can expose all the most interesting details in his heart, that is, the actor should live in the image with his true feelings, feelings and abilities under the cover of the angular mask. Any performance skill is inseparable from self-branding. Therefore, in the whole image-building process, it is the unity of the actor's self, angle and color shaping. In shaping the image, the body shows the charm of self, and the charm of self is shown in the angle. As Steiner said: "There is a big mistake in the theoretical understanding of the concept of reduplication. Re-embodiment is not to break away from oneself, but to carry out the action of the role. You should put yourself in the specified situation of the role and blend in with the role until you can't tell which is me and which is the role. This is the real reincarnation. " (2) So, when our actors receive the role in the new play, how can we create the role? How can we create a typical transfer role with flesh and blood and vivid spirit? I think we should first find the place where the angle and color match the actor's personality, and also find the difference between them. In the process of creation, we should keep the similar ones, eliminate the ones that are not suitable for the role lattice, and create the vivid model lattice that the role should have. exist
(1) The Complete Works of Stanley, Volume III.
(2) The Complete Works of Stanley Volume III.
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The fourth step is film and television performance
In creation, the blood of the character must be connected with the blood of the actor. Only when an actor approaches his own figure to an angular figure can he create a flesh-and-blood character.
For example, Nie Er, who I played in the movie Song of the Nation, faced such a problem: I am 23 years old, and Nie Er's age in the play is 20 years old. First of all, when I received the script, I found a match with Nie Er's age. After that, I found out the similarities between me and "He", for example, they are both enthusiastic young people who have studied music, so after finding the * * * between us, I used my own personality as an actor to fill the blank of Nie Er, a role I have never completely designed, and let me find another unity that is similar to "He" beyond the naked eye. Based on this, my performance of Nie Er can show that young people love their country and their hometown. This is the result of the two-way integration of actors and actors that I feel in practice!
However, when urging actors not to lose their personal charm at the beginning and end of their creation, they must first recognize their own charm.
(A) the actor's self-charm
The actor's self-charm should not only recognize which part of me can attract the audience, but also try to dig the actor's self-charm into the unique charm of the role. In shaping all kinds of images, the ultimate goal is to combine the charm of self with the charm of different angles and colors as a starting point to form a complete charm of characters. The actor's creative process is a two-way approach and two-way physical examination process, so that the actor is integrated into the role and the role is integrated into the actor's creative process. They are complementary, and arguments and proofs are unified. Stanny called this kind of mutuality "feeling oneself in the role and feeling the role in one's own mind", which contains two layers of thoughts and accurately reveals the core of two-way physical examination and two-way integration. It is in this two-way examination and approach that the "contact point" and "intersection point" are found, and the complete integration from the arrival point to the actor and angle is found. Stanny added: "Our main task is to create the inner life of the characters and the whole drama, to adapt our feelings to this life, and to present all the organic elements in our hearts to life." .............................................................................................................................
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My view of Chen Kun's personality performance is that to observe the role is to feel the feeling similar to the role. "
Dustin hoffman, a famous movie star, is an outstanding artist. He is called "a thousand faces". No matter the inferiority of height or the imperfection of body, he never gives up, never hides it, melts this lack of others into the role, and makes the role he created believe in the existence of "him" at the first sight. Besides, dustin hoffman cherishes every opportunity, his own charm and angle. This is why we can see people of different colors in different movies, such as women, mentally retarded children, doctors, commentators, ordinary parents and so on. However, we can all see dustin hoffman's unique personality charm in these roles, so when he extended his role to China, millions of audiences also felt his personality charm as an actor.
(2) Gender requires actors to break through themselves.
Actors should be true, dynamic, unique and simple when shaping their roles. This requires actors to constantly examine the thoughts and feelings of the role, try to figure out the external characteristics of the character, find out the difference between themselves and the role, break through themselves and become a role. If an actor can't suddenly break through himself, but only express himself in the same way, then the created role is just engraved, formal and lifeless. In Stani's book "The Cultivation of Actors", in the chapter of "Sexuality", Thorzov said: "Some actors move from one corner to another, relying entirely on their own charm. They base their achievements entirely on this charm. If they don't have this, they can't raise money, just like their three brainless grandchildren. Any editing that keeps the audience from seeing their natural features will scare these actors. If their charm is reflected in their eyes, expressions and voices, they will show these parts to the audience one by one; There are many actors who trust each other and rely on their own inherent talents. For example, they think that their charm lies in their deep feelings and easy to arouse, so they put their most powerful and important natural endowment on the role. All these show that you love yourself in the corner more than the corner color in your heart. This is a mistake, I believe you are.
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The fourth step is film and television performance
Can only do the creation of cow characters. You can not only show yourself, but also show the cow role you created. You must find something in yourself. "It can be seen that when an actor creates a role, he can't put the role on himself, but add his own characteristics to the role and express himself in the role instead of creating a role.
When an actor wants to create a role that is very different from his own experience, thinking situation and hobbies, the actor breaks through himself and moves towards the role. The most important thing is to get the final sense of self from the inside out and from the outside in.
Self-awareness, which is the unity of angular psychology and modeling. Only when an actor finds the psychological truth of the character-the self-awareness of the body, can he really live in the role. That is, when you get the character's true sense of self and true sense of self, it is the time when the actor is most self-sufficient and has the strongest sense of faith. "I am the role."
Fourthly, externalization is the last link of an actor's creation.
In the previous discussion, I mentioned that externalization originated from the inner world of deep human images. If we grasp the logical context of images and behaviors organically, it will be easier to find unique externalization characteristics. However, externalization is the last link of an actor's creation. If you think too early, the actor will tend to imitate, which will hinder him from grasping vivid and organic lines. At that time, in the final stage of playing the role, the external painting of the role gained the significance of the head, but this problem can only be completed by the logic of all the elements accumulated before, and it must be based on the presentation of the East and the West accumulated before.
As an actor, the shaping of sex is our pursuit, constantly looking for the charm of self, constantly digging the depth of the role, constantly embodying the body, and reflecting the bright spot of the integration of role and self. I believe this carved character will be full of flesh and blood and personal charm.
(Chen Kun)
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[This post was last edited by Banyuetan on 2008- 12-28 18:45]