First, what is the content of the performance major.
As for the performance major, generally speaking, the content of the examination is sound, television, line and table. Usually, acting majors will have a preliminary test and a second test.
The contents of the initial test and re-test are generally self-introduction, reading optional works, group sketch performance and examiner's questions. The content of these exams is still difficult. In self-introduction, candidates are required to figure out how to make their self-introduction special within one year. There are other highlights in the project that candidates need to explore themselves. This part, no matter which project, should choose the material or content that suits you.
The second interview is divided into two tests and three tests. Candidates who pass the second test will take the third test. The re-examination items are more comprehensive. Your cheating in the examination room is more comprehensive. So if you enter the third grade exam, you should be prepared in advance.
Second, it is most important to be true and sincere in front of the examiner.
How can some candidates say that they have a shelf or have been pretending to let the examiner and his family pay attention to themselves during the exam? In fact, this is not necessary. In the eyes of examiners, it is often those very real candidates who attract them the most. As long as you show your truest side to the examiner and the teacher, you will get the teacher's attention or attention.
2. Common sense required for performance
1, Lawson's Theory and Skills of Drama and Screenplay: Although at the time of writing this book, its author has not completely divorced from the framework of drama theory to summarize the special laws of screenplay, it is of reference significance to us, especially in studying the relationship between drama theory and screenplay theory. Through this book, we can well understand the characteristics of traditional drama based on "conflict law"; 2. Selected film papers of Culture and Art Publishing House: This book comprehensively selects the most important chapters of famous Chinese and foreign filmmakers and film theorists, so that we can have a simple and comprehensive understanding of film theory;
3. Selected Works of Chinese Film Theory, edited by Luo Yijun: This book is divided into two volumes, which comprehensively selects chapters from 1920 to 1989, which can give us an overall overview of Chinese film theory;
4. Wang Di's "Towards the Film Temple-Film Analysis Textbook of Beijing Film Academy": It is a film drama analysis textbook written by the teachers of the Literature Department of Beijing Film Academy, which shows us how teachers analyze a film drama;
5. Su Mu's "Honor": The author is a professional screenwriter professor in the Literature Department of Beijing Film Academy. This book is the textbook of his film analysis course, which analyzes some foreign business cards in detail and is innovative;
3. What should I learn if I want to learn acting?
Hello, it's actually not difficult. According to the course of the performance department, just buy books and learn by yourself. In addition, many books may not be available, so you'd better go to a special bookstore or art college to buy them.
One is the lines. There are many books about Mandarin, which are sold in bookstores. China Communication University has a special tongue twister training course.
The second is the form. This is not much different from dancing, but it is much less difficult. Mainly to train the coordination ability of limbs and keep fit.
The third is performance. This is a big category. I haven't learned it either. I don't know how to answer you. However, I think there are at least these aspects, such as learning the history of movies, learning the techniques of movies, improving my understanding of life by doing sketches, observing life, imitating and so on, and experiencing different lives. . In fact, there are many books in this field in China at present, such as the movie house series produced by Guangxi Normal University.
Self-study is a long and arduous process, which must be persevered, and the love of movies should not only begin when you plan to do such a job. As an art, you need to accumulate and experience many movies before, otherwise you can't learn well. In addition, you can go to the website of Beijing Film Academy to see if there are correspondence courses. If there is, it will be very convenient. All you have to do is sign up for study. If your problem is solved, please set it to like.
4. Basic theory and knowledge of performing arts.
Master the basic principles of Marxism; Familiar with the relevant guidelines, policies and regulations of China; Systematically master the basic theories of film and television performance and film and television art; Have the creative ability to independently shape screen (screen) characters; Master the process of film and television production; Have a strong foreign language level, be able to read foreign language books and periodicals of this major, and have preliminary listening, speaking and writing abilities.
Undergraduate students are required to have the teaching ability of this major. Film analysis, drama masterpiece analysis, music works analysis, art works analysis, film acoustics, psychology, art introduction, China film history, foreign film history, film director introduction, film performance analysis, aesthetics introduction, film production, film modeling, language skills.
Music, body, performing arts, etc. In combination with teaching, organize students to participate in social practice activities such as social investigation and performance practice.
5. common sense of performance: what are the seven forces and four senses?
What is the "seven forces": 1, keen and meticulous observation.
Life is the source of art, and it is one of the most important basic skills for actors to cultivate and develop their ability to observe life. Performing arts is the art of expressing people, so it is natural for actors to focus on observing people in their own lives. ※. If you want to gain something from observing life, you must have a keen and meticulous ability to capture the external characteristics of the characters and understand and feel the psychological characteristics of the observed characters. ※. An actor's observation is cultivated by his long-term unremitting and conscious observation of life. ※. An actor should always keep an eye on one person, and always look at people with different styles in life. ※. 2. Active and steady attention. ※.
Actors must have active, stable and sustainable attention when creating. An actor can not concentrate on his own creation. ※. First of all, he (she) can't concentrate on the object of the action, can't really move on the stage, so he (she) can't feel and really communicate with his opponent in the action, which will inevitably make the performance lose its authenticity and organic nature. The attention of an actor in his creation is conscious attention. ※. An actor should actively and steadily focus on the object of action in his creation, and develop with the development of action. ※. The basic requirement of attention is that an actor should really listen, see and feel in his creation. ※. Actors should strive to overcome their selfish distractions in their creation, and the most important thing is to "indulge" in the things in the drama situation and be good at creating attractive purposes for their actions in their performances. ※. Actors just want to turn objects they are not interested in into objects they are interested in. ※. Turn boring things into interesting things. ※.
3. Rich and active imagination. Any kind of artistic creation is inseparable from imagination. Although the playwright recreates the literary image written by the playwright, in order to recreate the literary image in the script into a stage figure, the actor must use his own imagination to recreate the scene, events, characters, etc. ※. Provided by the playwright, the simple stage hints, characters' movements and language in the script can be enriched and deepened with the help of the actor's imagination. Imagination not only supplements and deepens the actors' creation, but also encourages them to have emotional experience and desire for action. ※. An actor's imagination should have a strong appeal. ※. An actor's imagination should also have an improvisational imagination. ※. If an actor doesn't want to repeat his previous creation mechanically in each creation, he needs to cooperate with his co-actors, and at the same time, he can have an impromptu imagination to further enrich and improve his own creation. Imagination is not innate, and its cultivation and development can not be separated from the accumulation of actors' life and literary accomplishment. ※. ※.
Extensive knowledge of life and rich literary accomplishment are the basis for actors to have rich and active imagination; In performing arts creation, actors can use "magic hypothesis" to stimulate their imagination. 4. Keen and sincere sensibility. ※.
In life, when people accept external things, they always feel something and cause corresponding emotional changes. We call this ability sensibility. In the performing arts, it is very important for actors to create emotional experiences of their roles. ※. The actor's sensibility is the most important guarantee to create the emotional experience of the characters. ※. In performing arts creation, actors accept not the truth in life but artistic fiction. ※. Actors often can't objectively feel the * * * given, so they can't create the emotional experience of the characters. As a result, they can only use false "performance emotions" to prevaricate. Actors lack real experience in creating roles. Apart from the quality of creative methods and skills, the most important reason is the lack of keen and sincere sensibility that actors need. ※. The cultivation of sensibility in an actor's creative quality is related to his overall quality. ※. An excellent actor must be sincere, enthusiastic, full of love for life and have distinct likes and dislikes. ※. 5. True, accurate and reasonable judgment and thinking. ※.
In the creation of performing arts, another important link in the psychological activities of actors' creation is judgment. To a great extent, judging is thinking. ※. In performance creation, it is not easy to think and judge like in life, because the situation in performance creation is an artistic fiction, and the result of everything that happens in the plot is predetermined. ※. In the process of creation, if the actor accurately thinks and judges the psychological activities of the characters, but goes straight to the results without thinking, it will only make the characters he plays become false and pale. 6. Sensitive and delicate adaptability. ※.
In performance creation, actors should always adapt to the * * * given by the specified situation and the * * * given by their opponents, and express the thoughts and emotions of the characters through sensitive and delicate adaptability. Actors with good adaptability can often create very accurate, vivid, subtle and colorful adaptations in their performances, making their characters vivid and touching. ※. On the contrary, the characters created by the actors will be the same, which will make the audience feel boring. ※: The adaptation of actors in performance is based on their understanding and feelings of the specified situation and their accurate grasp of the relationship between characters in their creative methods. An actor's good adaptability is based on his attention, imagination, sensibility, judgment and expressiveness. ※. 7. Unique form and expressive force of language. ※.
When portraying characters, actors should have sincere, profound and delicate inner experience and accurate, vivid and vivid external reflection. External embodiment is very important, because it conveys the inner "spiritual life". ※. The inner experience of an actor can only be seen through external performance. ※. ※.
6. What are the basic knowledge of drama?
Drama) [drama; Play used to refer to traditional operas in China, and later it was used as a general term for traditional operas, dramas, operas, ballets and poetic dramas in China.
Greek drama refers to the stage performance art that achieves narrative purpose in the form of language, action, dance, music and puppet. The concept of drama in literature refers to the script created for drama performance, that is, the script.
There are various forms of theatrical performances, including drama, opera, ballet, musical, puppet show and so on. A comprehensive art with specific significance.
There are two meanings: in a narrow sense, it refers to a form of stage performance that started with ancient Greek tragedies and comedies, first developed in European countries, and then became popular all over the world. Drama in English and drama in China. Broadly speaking, it also includes the traditional stage performances of some countries and nationalities in the East, such as China's operas, Japanese kabuki, Indian classical dramas, and Korean singing operas.
The essence of drama In the 4th century BC, Aristotle expressed his understanding of the essence of drama in Poetics. He believes that all art is imitation, and drama is imitation of human behavior.
Two centuries later, India's first drama theory work, Dance Theory, also pointed out: "Drama is imitation." /kloc-after the 0/9th century, there have been different opinions about the essence of drama, including audience theory, conflict theory, radical change theory, situation theory and laboratory theory.
The audience said: identifying with the audience is a necessary condition and the essence of drama. French drama theorist F. Sasay is the representative of this concept. He asserted that no matter what kind of drama works, it is for the audience.
"Without the audience, there would be no drama", so all the organs of drama must adapt to the audience's appreciation. Conflict theory: represented by the French drama theorist Brent.
At the end of 19, Bruntel pointed out that the stage is the place where people's conscious will is exerted, and the exertion of characters' conscious will is bound to encounter obstacles, and the subject must fight against them in order to overcome them, which constitutes a "will conflict", and the essence of drama lies in this. J.H. Lawson, an American drama theorist, attributed the essence of drama to "social conflict in which consciousness and will play a role".
He believes that because drama deals with social relations, people's conscious will is bound to be restricted by social inevitability, so the real drama conflict must be social conflict. This concept can be expressed in one sentence: "There is no drama without conflict."
Disaster theory: British drama theorist W Archer denied Brent's "conflict" theory. He compared the novel with the drama, thinking that the novel is a "gradual" art, while the drama is a "crisis" art, and the drama deals with the dramatic changes in people's fate and environment, which is the essence of the drama. Situation and Laboratory Theory: As early as18th century, the French philosopher D Diderot regarded "situation" as the basis of drama works.
When Hegel talked about the characteristics of drama, he also linked "situation" with "conflict" and emphasized the ontological significance of situation. The existentialist philosopher and playwright J.-P. Sartre called his drama "situational drama" and described the object of the drama as people's choice in the situation.
B Brecht regards drama as a scientific method and thinks that drama is a laboratory to test human behavior in a specific situation. This concept also defines the essence of drama from a specific angle.
The origin of drama 1. There are two kinds of music and dance theories: (1) the palace music and dance theory, which is about the miscellaneous knowledge of Lushuige written by Nalan Xingde in the Qing Dynasty: "When the clouds were full on the beam, it was an old man who talked about the changes of the immortals in the western regions, and the actors really started here." According to the fact that ancient music and dance mostly appeared in characters, Liu thought that "the dramatist originated from ancient musicians and dancers" in "The Original Opera" ... but it was similar to later operas. "
In the book Primitive Music, Dance and Drama in China, the dramatic factors of primitive music and dance are often systematically investigated, and it is considered that "simple music and dance in primitive society is the predecessor of perfect drama". Zhou's A Long History of China's Plays traces the earliest source of China's plays to "Zhou Qin's Music and Dance".
(2) According to the ancient song and dance theory, the first sentence of "A General History of China Opera" edited by Zhang Geng and Guo Hancheng said: "The origin of China opera can be traced back to the songs and dances of primitive times." We know that all art originates from labor, and China's songs and dances are no exception.
Shun Dian said, "When a stone strikes, all animals dance together." The so-called animal dance is not as mysterious as later Confucianism. It is said that even animals came to worship and dance when saints were alive. This kind of dance is played by knocking on stones or knocking on stones with hands. There were no drums at that time, so it was primitive.
It was only later that drums appeared, and the so-called "drum dance" went further. This dance may be a primitive religious ceremony before going out hunting, or it may be a celebration ceremony after returning from hunting. In the article Lu Chunqiu. Ancient music ",said:" The son of heaven stands tall, the quality is the joy of the valley, and the song is the voice of the valley. It is a drum with skin and a stone like the jade of god. "
This is a legend about ancient music and dance in the Warring States period. Through the description of this song and dance, we can see a scene of a primitive hunter hunting in the mountains: "While whistling, all kinds of pottery tools threatened the beast, so the beast ran away like a wolf and was finally arrested." The primitive artist "Zhi" (actually not one person, but all people at that time) created hunting dance according to the reality of life. At this time, the so-called "beast"
Of course, at this time, the scenes are artistic, and the music and dance are rhythmic. This kind of dance has a strong sense of ceremony. It is to call the patron saint or ancestor of the clan to pray for this harvest, or to thank the gods when they come back from hunting. But no matter what ceremony, no matter how heavy the primitive religious cloak is, its practical significance is a kind of exercise and exercise for labor, which not only exercises the proficiency of hunters, but also cultivates young hunters. There is a record in Shun Dian that "Dian Yue teaches children".
The annotation of Xunzi is aristocratic children.
7. What basic knowledge should an actor learn?
First of all, I can control and understand my facial expressions.
Second, there is a strong desire to perform.
Third, be familiar with life and be ready to play.
Fourth, be familiar with certain body language coordination.
5. It is important to have a certain talent (imitation).
Six, to have a certain physical quality, the actor is a very hard work.
Seven, to have a strong artistic appeal, cognitive script.
Eight, must have the team spirit, can understand the director's intention and can realize it.
Nine, to have a certain level of education.
Ten, must have their own characteristics or voice or appearance or figure.