Hello, teachers and students, I am xxx, a graduate of performance major in Grade 03, and my student number is xxxxxxxxxx.
My thesis is entitled "On Language Art in Performance Creation"
Language covers a wide range, including life language and artistic language, such as broadcasting, cross talk and recitation. This paper discusses the language in the performance, especially the lines.
The center of the article is: when language can convey thoughts and feelings and express characters, performance can realize artistic creation; When performance realizes artistic creation, the language that can convey thoughts and feelings and express characters can also be upgraded to the language of art, and the two complement each other. This is the significance of my topic "Language Art in Performance Creation".
The article is divided into three parts,
The first part mainly describes the charm of language.
I think since I call language the language of art in my thesis, and since I think that the language of art can promote performance and creation, it must be attractive and charming, so I will describe and show it from the perspective of charm.
Charming language can infect people. Actors with bad timbre are not necessarily without language charm. What is important is that language is mixed with true feelings and can convey the thoughts and feelings of characters, just as some people like to listen to what they say and some people don't like to listen to what they say. What is needed is expressive language, which can make people enjoy themselves. This is the charm.
Charm may come from a person's talent, but more is acquired. Then, how to realize the charm of language and promote performance creation requires the combination of language expression skills and the improvement of connotation cultivation, which are the next two arguments of my thesis.
Let me mention the part of "emotional communication in language" first.
Language is a very important part of performance creation and an important form of expression to realize emotional communication. So I will discuss it from "the importance of language in performance". Including the shaping of voice, the interpretation of lines, the excavation of subtext, the description of language, the action of language, the use of dialects and so on.
The performance should be "simple in language, just like that person". Make the words vivid, that is, vivid and infectious. I think the same sentence, different characters, in different situations, with different mentality, will have different feelings. For example, the word "go out", whether you are an angry order or a helpless attitude, whether you use a question or an affirmative sentence, whether you are drunk and vague, or nervous and stuttering ... The key is that the actor should take the initiative to understand. Shape the characters' language from the subtle angles of intonation, mood, rhythm and logical stress. For example, the role of Tigress in Camel Xiangzi is provocative. She will cry and shout when she is unhappy. For example, a businessman who has experienced an accident may be eloquent; For example, Lin Daiyu in A Dream of Red Mansions is weak in character and sad in tone. The love between Du Ju and Wang Yi in the movie I Love You is a special way of bickering and teasing.
I want to say that actors should put themselves in the role's inner feelings, grasp the role's tone, and language should convey the role's inner activities, potential meanings, relationships and emotional entanglements. Otherwise, even if the lines are memorized, the words will be pale and powerless, and a good actor can use his lines skills to express the role language even in the face of the dull words in the script itself.
A voice endowed with vitality should be able to create characters with different personalities, ages and temperaments, which is called "sound makeup". For example, if you are sick, your tone will be weaker, and your child will be childish and silly. Another example is the eunuch's speech, which must be a feminine male voice. Intellectuals speak differently from migrant workers, humorous people speak differently from melancholy people, and so on. For example, the use of dialects and specific language colors can increase the credibility of its role and improve the authenticity of its role-building. For example, the sitcom "Northeast Family" and the movie "Crazy Stone" are deeply rooted in people's hearts. For example, I played Jiao Jiao in the graduation drama "New Loess Ballad". She is a Sichuanese with a cheerful and spicy personality. In the play, I use Sichuan dialect to perform the character language, which can highlight the character image. However, I want to make it clear that dialects are limited and must be based on a language that everyone can understand. There are many languages in China, and not all of them can be popularized. In addition, the pronunciation, accent and charm of dialects can not be accurately imitated for a while, and people who have in-depth experience in local folk languages are needed to shape the voice well.
In short, I will explain how to realize artistic language, make language convey emotions, and finally complete the shaping of characters from the perspective of positive elaboration, examples and some negative effects. It should be pointed out that this part I am discussing is a mixture of stage language and film language. Perhaps the stage language is relatively exaggerated and the film language is relatively active, but as I said in my thesis, "no matter what kind of performance, words must be expressed from the heart, in the hearts of actors, opponents and audiences."
Secondly, I mentioned the cultivation of actors, which is the last part of my thesis.
It is the well-known saying, "In the final analysis, acting is about culture and self-cultivation." Self-cultivation involves all the categories that can be called art and performance, as well as the language in performance, so I must mention the issue of self-cultivation in my thesis. I think an actor uses his own material to perform, creates through language, and finally his performance will rise to art. Besides the performance skills I mentioned above, he also needs connotation cultivation, which are inseparable. Only well-cultivated actors can create performances and drive language into art; Only a well-cultivated actor can let the language art push the performance to complete the creation.