Wu Jianye and Xie Wan came first to this year's freshman class. They had just finished their military training and their faces were still a little dark and a little raw. Except for those who had performed before, they could get familiar with unfamiliar people more quickly.
Due to the environment, freshmen always have some difficulties in letting go.
Therefore, when a big figure like Wu Jianye appears in front of teachers, it still makes them more nervous. At the same time, they want to show their maturity or professional ability in front of Wu Jianye, but they don't know that the more they become
If this is the case, there will be more mistakes.
But Wu Jianye doesn't care much about these things, who hasn't been young yet?
To be young is to be open and youthful.
Wu Jianye first said hello to Professor Lin Hongtong, the head teacher of the 1988 Performance Department, and then sat at the back of the classroom like an ordinary student.
Wu Jianye could clearly feel how the students' eyes slowly followed his steps when he walked through the classroom aisle. Until he sat at the back of the classroom, everyone's eyes would still look at him from time to time.
.
The desire in his eyes is obvious.
Professor Lin Hongtong saw this and shook his head with a smile. This class was originally about film acting skills, but now looking at the students in the classroom, it was obvious that all of them had no intention of listening anymore because of Wu Jianye's presence.
.
So Professor Lin Hongtong directly changed his previous thoughts and said: "Director Wu, why don't you tell me how you view performance?"
Wu Jianye had just sat down. He was supposed to choose the actors himself, but unexpectedly Professor Lin Hongtong asked him to give a lecture.
"Professor Lin, isn't this bad?" Wu Jianye wanted to refuse.
Professor Lin Hongtong smiled and said: "There's nothing wrong with it. It's not like you haven't given lectures to students in the performance department before. I think the students here will also want to hear your opinion."
"right!"
There were deafening shouts in the classroom.
"Ahem, then I'll just do my best!" Wu Jianye stood up helplessly and walked back to the podium. Then, the students in the audience immediately sat upright, as if they were about to undergo peerless martial arts.
"First of all, I would like to congratulate you all for being admitted to the Yanjing Film Academy. As students with the highest level of acting in the country, your ability to get here shows that you are more suitable for this industry than most people."
Wu Jianye said with a smile. When Wu Jianye praised Yanjing Film School as the best film school in the country, both the students and Professor Lin in the audience were very happy.
"When you come here, it is destined that most of you will make a living as actors in the future. First of all, my hope for you is that in the future, you can be proud of being an actor instead of simply pursuing being an actor.
star!"
Jiang Wenli in the audience shouted: "Director Wu, aren't actors just stars?"
Wu Jianye smiled and shook his head. To be honest, there is really no such obvious gap in this era. I don’t think that in future generations, even if a person does not even have a representative work, he can still earn money by twisting a few times on the stage and being able to play basketball.
There were so many movies. In that era, there were very few people who could calm down and be an actor quietly.
"There is still a gap between actors and stars. Actors focus more on the presentation of their film and television works, but stars? You must know that you are cheating now, right?"
Acupuncture has now become the best way for domestic actors and singers to earn extra money, just like celebrity endorsements and various activities and variety shows in later generations.
It was still Jiang Wenli who answered Wu Jianye's meaning: "I know, I heard that you can make a lot of money by tapping acupuncture points now!"
Wu Jianye smiled: "That's what it means. It is true that acupuncture can help everyone earn more money, but there is less time left to study acting and experience life. Time is fair, and everyone has so much time every day.
, if you choose this industry just to simply change your life, then I don’t object to everyone doing acupuncture, but if you want to have more breakthroughs on the road of being an actor, then acupointing will greatly hinder everyone’s future.
exhibition."
Everyone in the audience heard what Wu Jianye said, and some people fell into deep thought. The income of the actor industry at this time is not really a high-income group in the country, but it is definitely higher than that of ordinary working people, but people
People's greed is insatiable, especially when they see their friends around them. Some people just go for a massage and it's worth the salary of a TV series. It's impossible not to be tempted.
But as Wu Jianye said, people must learn to choose.
Seeing that everyone was silent, Wu Jianye did not continue to delve into the topic. He is not a person who likes to change other people's ideas. Once his own ideas are reached, that's fine. As for the future road, they still have to walk on their own.
.
Wu Jianye then told everyone about his understanding of performance.
“Some people divide performances into three categories: experiential, method, and expression!”
"The requirements for experience party performances are: come from yourself and live in the situation of the character."
Professor Lin Hongtong frowned slightly when he heard this, because he did not think that the experiential school should come from the self... But now Wu Jianye was giving the lecture, and he didn't say much, but after class
I still want to discuss it with Wu Jianye.
"Actually, we have the biggest misunderstanding about the experiential school in our country right now. For example, what I just said is coming from the self." After Wu Jianye finished speaking, Professor Lin nodded. He indeed thought so.
At this time, even Professor Lin was attracted by Wu Jianye's class. He also wanted to see what Wu Jianye could say.
Wu Jianye increased his tone and continued: "Please note that only the 'self' can complete the real experience, that is, 'really hear, truly see, truly feel'.
If you are imitating an imaginary image or putting yourself into a performance that is different from your normal life, you will not be able to complete the real experience.
Therefore, it must be emphasized that "coming out of oneself" is the basis of the entire character creation process of experiential performance, not one of its stages. In other words, experientialism requires actors to "always come out of oneself" throughout the performance process.
So are ‘coming out of oneself’ and ‘becoming a role’ contradictory?
I think it's not contradictory because you have to live in the character's situation.
For example, if a young person plays an old man, the experiential approach is not to imitate the old man, but to make himself believe that the old man's situation has happened to him, for example, to believe that his joints are not good, his glasses cannot see clearly, and his ears are not clear.
I can't hear clearly... I am still myself, but the situation has changed. This example is given to facilitate everyone's understanding. In fact, young people playing the role of an old man can only be used as a teaching exercise. In real creation, the experience school advocates that actors should be as close to the characters as possible.
Therefore, what the experientialists say about "becoming a role from the self" does not mean "becoming a role from the self first", but "becoming a role from the self". "Becoming a role from the self" means "becoming a role"
Basically, the two cannot be understood as two separate processes.
So isn't "Coming from the Self" a genuine performance? Doesn't it have any technical content?
Wrong, starting from yourself is the most difficult. First, you need to expose your own personality that you may not want others to know.
For example, if Experience sent a straight man to play a gay man, he could not disguise himself as someone else to imitate, but could only bring out even a little bit of his fondness for men in his heart for the character, and really use his gay side.
Show people.
Secondly, it requires believing in the situation, such as believing that a fake gun is a real death threat. It requires subconscious reaction in the situation rather than a designed performance. This kind of belief is much more difficult than designing.
In the end, a lot of work must be done to make the character's situation full, and to make a fictional situation as full as life, the amount of content that needs to be filled in is quite astonishing.
So does "coming from oneself" mean that an actor can only portray a character with one personality?
no.
Because human personality is multi-faceted and is a large collection; and the characters written by the playwright cannot have as rich a personality as a living person, so it is a small collection.
One large collection can contain many different small collections, and an actor can perform his true self for a lifetime and perform many different roles.
Therefore, the experience school’s process of birthing characters from the self is subtraction—removing the parts of the large self set that do not fit the small set of roles, and trying to make the two sets overlap, that is, the self and the role;
Instead of doing addition, add something that does not belong to you.
For example, people in real life may look different in front of colleagues and family members, but they do not add characters that are not their own or imitate anyone, they just hide part of their character in different situations.
So what if the large set of selves does not contain the small set of roles?
The first is to expand the self-collection, that is, to explore one's hidden character and liberate one's unliberated nature; the second is that if the self is really too far away from the role, then don't play that role.
Staney said that the director must first get to know his actors well, so that he can avoid choosing a piece of tofu for steak when assigning roles. When making steak, you need to choose the right part of beef. Using tofu to make steak may be a show-off.
, but not really gourmet.
Generally speaking, the experiential school is the most difficult of the three schools, and it also requires the most talent: the talent of liberating oneself, and the talent of believing in situations. There are very few actors who have the talent to meet the requirements of the experiential school, so there are many
Those who refuse to continue are unwilling to admit that they are not talented enough, and instead tamper with or oppose the experientialists.
The aesthetic pursuit of the experiential school is reality, and everything is aimed at making the actors' performances achieve a sense of reality that is close to life and close to the subconscious."
Wu Jianye explained his experience of the Experiential School in a self-answered manner. As he said, a large part of the current domestic understanding of the Experiential School is wrong. This is just his own understanding. He is now talking about
Come out, especially in his current position, say such things.
It is bound to have a huge impact, and will become the focus of discussion in various universities in the future, and may even bring some trouble to Wu Jianye.
But Wu Jianye doesn't care. At his current level, he already has the ability to deal with these troubles.
After Professor Lin Hongtong listened, he also fell into deep thought. He still had no way to tell whether what Wu Jianye said was correct or not, but one thing he was sure of was that after today, Wu Jianye would definitely be angry because of what he said today. Caused a lot of discussion.
After a long time, a student continued to ask: "What about the Method School and the Expression School?"
Wu Jianye said with a smile: “The Method School is inherited from the Experience School, but there is one significant difference, that is, the Method School allows actors to change communication partners, while the Experience School does not.
For example, a straight man plays a homosexual and makes him fall in love with a man.
The method school allows straight male actors to imagine the opponent as a woman, but the experiential school does not allow it.
The experiential school requires that you must find the part you love from this person of the same sex.
The reason for this difference is that the Method School evolved from the Experiential School after it was introduced to the United States, where movies gradually became the biggest stage for performance.
In movie shooting, actors do not always have a real communication partner, and the most realistic performance only requires one line, without repeating it over and over. Therefore, in movie shooting, it is sometimes necessary and harmless for actors to change communication partners. .This is different from the requirements of a stage play."
"As for expressionism, "expressionism" does not emphasize coming from oneself, but emphasizes first constructing a "character image" in the heart and emphasizing imitation.
At the same time, expressionism does not advocate subconscious living in situations, but emphasizes "jumping out" to grasp and design.
Some people say that the experientialists are Stani and the expressionists are Brecht.
The first half of the sentence is correct, but the second half is incorrect.
The "alienation" advocated by Brecht is a performance effect, which is achieved more through screenwriters and directors, rather than a performance method.
In his own acting practice, Brecht hoped that the audience could be alienated, but he still required the actors to experience it.
In order to find theoretical basis for their own performance methods, some domestic performers just used Brecht as a banner, and many people were deceived.
As for some people who say that experientialism is from the inside out and expressionism is from the outside in... they are also wrong.
The experiential school requires the "subconscious" to be completed organically both internally and externally. When performing, the actor's attention should neither be on his external actions nor his own heart, just like most of the time in life, people's attention is not on themselves. When it comes to opponents and the environment, neither internal feelings nor external behaviors are deliberately generated, and the same should be true during performances.
The "body-psychomotor method" used by Stani in his later years was actually a method used by the director to lead actors to improvise in order to help the actors reach their subconscious. It was not, as the name suggests, Stanney's change from inside-out to outside-in in his later years. '."
Speaking of this, Wu Jianye laughed and said: "Sometimes I really admire the ability of some people in China to live up to their name, and their courage to make bold assumptions and "innovate" other people's existing theories."
As Wu Jianye explained, the students in the classroom had gradually forgotten that Wu Jianye was the most powerful director in the country, and regarded him more as their teacher.
"So Director Wu, do you mean that we only need to find one of our own schools among these three schools?" a student asked.