I'm just an actor

Chapter 451 Scholars

Facing Xu Rong's doubts, everyone didn't dare to answer casually for a while. Even a few old people who had a certain knowledge of traditional culture couldn't help but think about the deep meaning of the requirement of "harmonious posture".

Xu Rong initially did not want to use the concept of "hehe" which cannot be strictly defined to describe.

For vocal posture, his initial idea was to learn from the "standard" posture in vocal music teaching, that is, keep the upper body upright, look forward, lower abdomen slightly retracted, and arms droop naturally.

The advantage of this vocal posture is that it can keep the breath and voice unobstructed, and the relaxation of the body will also lead to the relaxation of the mind, so that the actors can maintain a relatively positive state and make a stretched and beautiful voice.

Inspired by the main point of Bajiquan's "integration of internal and external", he changed this way of thinking. Baji maximizes the efficiency of power through "combination of internal and external", and sound is also a form of presentation of power. Therefore, for vocal posture, his The concept is to be consistent with the emotions to be expressed in the lines. Only in this way can a high degree of consistency in breath, mental action, and physical action be achieved, and the power of the lines can be maximized.

For example, reading a pleading monologue in a standard posture can naturally serve the purpose of practicing breath, but it is different from the depth of "pleading" that can be expressed by bending down, bowing your head or even kneeling on the ground. The degree of feeling is also different.

In his philosophy, the most important homework for an actor is not just limited to the practice of basic skills, but also to feel various emotions with heart and body.

Because of the diversity of emotions, vocal gestures are more complicated. Most of them are seen in daily life, while some are not common, such as "like complaining like admiration" or "like weeping like complaining", which requires more complicated psychological and physiological actions. For the time being, Xu Rong can only use the concept of "harmony" to discuss conceptually, and in his prediction, this is easy to understand.

In the actual teaching, he will learn from the "stylized" teaching mode of Peking Opera and provide a "standard template" for the body. Students will make adaptive adjustments on the basis of this template according to their own material conditions.

Lan Tianye pondered for a while, then asked softly: "Do you think that the original intention of saying this is that the body and emotion should be in harmony?"

Xu Rong glanced at the old man appreciatively. The old man guessed one-third of his ideas with just one sentence, which is really not easy.

He didn't make a fool of himself, and explained: "Probably this direction, more precisely, it is a dynamic balance range. Let me use an analogy, we often divide people into sick and healthy, but in fact, the vast majority of people They are neither sick nor healthy, but they should still eat and drink. I think "harmony" includes the standard of balance, but it is not limited to this. When a slight imbalance does not cause qualitative change, this part of the range should also be included Inside, in terms of vocal posture, it is difficult for us to find a perfect vocal posture that absolutely fits the lines. We can only try and get close to it as much as possible, and finally get infinitely close to or even reach the content of the breath, psychological actions, physiological actions and lines. .”

Zheng Rong was keenly aware of the core points, and asked, "You mean, the experience is impossible to achieve?"

Xu Rong looked at more than 20 people in the corridor, and said with a smile: "Master, do you want me to take all of you away?"

He glanced at Pu Cunxi, who was holding the notebook, his expression was starting to look wrong, and said: "Puyuan, don't read it anymore, I will sort it out later and post it in the journal."

"Pu Yuan?"

"what?"

Pu Cunxi suddenly came back to his senses, and looked at Xu Rong with a dazed look in his eyes. He thought that Xu Rong had achieved localization on the basis of the Strike system, but he didn't expect Xu Rong to completely abandon the Strike system. Start anew.

Xu Rong did not demonstrate his basic theories and corresponding internal skills in his notes, but his existence itself has demonstrated the feasibility of his theories and methods.

The basic theory and specific skills of each system are always in the same line. For example, the Si's system believes that actors "think and think" with their roles on the stage, so there is a way to experience life.

And Xu Rong believes that actors balance themselves and their roles on stage, so he pays more attention to the fit of internal and external techniques, physical actions and psychological actions.

The corridor fell into a strange tranquility, Xu Rong didn't explain anymore, everyone is an actor, and most people should have experienced the state of "experience". At a certain period of time or at a certain moment, they can achieve "on stage, In the living environment of the character, the state of thinking, wishing, aspiring and acting exactly as the character does, logically, in an orderly manner, like a living person, but because of the experience, it is more profound Feeling that this state is fragile and unsustainable.

Actors based on the Stuart system perform on stage from a firm belief, a firm belief that "I am the character, and my reaction is the character's reaction", but in essence, Xu Rong never There will be no inexplicable belief that "I am Xu Rong, and my reaction is Xu Rong's reaction", and the existence of this belief in the performance itself is a denial of experience.

The theoretical explanation for this phenomenon is that the actor's internal skills are still not perfect.

Everyone looked at Xu Rong with strange expressions. From the silence of Xu Rong and the seniors, they all vaguely guessed something. It's useless.

Xu Rong didn't intend to prove the correctness of his own theory hastily. These people in the corridor are the essence of human art. If they talk about it themselves, they will definitely refute it, but whether they will think when lying in bed at night? When you go on stage, you will show your feet.

Once you have doubts about the Strauss system, you may inevitably have doubts about whether what you think is what the character thinks and whether your actions are what the character is doing. Once doubt arises, it will inevitably lead to fear when performing.

Moreover, he himself does not deny the Strike system. In his cognition, the relationship between the Strike system and his system is roughly equivalent to communism and socialism. He does not deny the possibility of communism, but he himself runs towards socialism Doctrine is gone.

But everyone has a different understanding of the Stewart system. He is not sure whether his one-sided argument will lead to the collapse of a certain person's confidence in acting.

Today’s performance theorists have a variety of understandings of Strauss’ system. Russ has such a classic statement, that is, “start from the self and live in the role’s situation”. .

Xu Rong once heard an exposition of this passage by a Chinese opera teacher. The general content is as follows:

The experiential school is the most misunderstood performance school in China. The current popular understanding of the experiential school is basically wrong.There are very complicated historical reasons for this, so I won't go into details, but I will just talk about the most common and worst misconception among them-the failure to recognize that acting should always "start from oneself".

Please note that only the "self" can complete the real experience, that is, "real hearing, real seeing, real feeling".If you are already imitating an imaginary image, or putting yourself in a performance state that is different from your normal life, it is impossible to complete the authentic experience.Therefore, it must be emphasized that "starting from the self" is the basis of the whole process of shaping the role of the experiential school, not one of the stages. That is to say, the experiential school requires actors to "always start from the self" throughout the performance.

This is the interpretation of the Stuart system by professors from China's top drama academy.

Xu Rong disagreed. In his opinion, the "starting from self" of the Strike system does not focus on "self", but "starting". But what is the impact of this sentence? When actors see this After a sentence, the result is often "to be in line with oneself", and all the characters are the same as him, not only in image but also in thought.

In his understanding, the purpose of Stanley's "starting from the self" is to allow actors to first behave like individuals, comprehensible, and ponderable people, rather than making them the incarnation of certain concepts.

"Self" is just a starting point. From here, there is still a lot of work to be done, gradually moving from "person" to "character". Therefore, in the industry, actors who can't even speak lines have "non-human words" evaluation of.

"In the past few days, I will sort out the basic theory and line skills, and post it in the journal." He said, glanced at Song Yi, and was about to arrange for him to go to his home to help tomorrow, but saw Li Guangfu rushing from the crowd. squeezed out.

Li Guangfu grabbed Xu Rong's arm: "Mr. Xu, I will be your assistant, and I will be your assistant."

Lei Jia reacted a little slower, but after being pushed by Yang Lixin, she also reacted: "Brother Xu, I, I, I can do it too."

Xu Rong was stunned for a moment, then smiled and said: "Mr. Li, you are joking, and Lei Jia, you all still have plays to rehearse, let Song Yi and Xiao Zhang come."

Although Xiao Zhang was unresponsive, he was not stupid. This battle was obviously recorded in Teacher Xu's notes.

In the history of drama and performance theory, some people have not made outstanding contributions to the development of drama and performance theory that are remembered by later generations, but because they are highly tied to some important figures, their names often appear, such as "Stanilavsky's most loyal pupil and close assistant Demidov".

She not only wants to be an ordinary classmate of Xiao Zhang, but also a classmate of Xiao Zhang who is famous in history!
Feeling a little hungry, Xu Rong looked down at his watch and said, "I'll go eat something first."

"I'll bring it for you. I'll ask the chef in the cafeteria to warm it up for you."

A week later, the second day of the People's Arts special issue.

"Dean, dean, big news, big news" Hao Tian hurriedly rushed to Xu Xiang's office holding a magazine with Xu Rong's photo on the cover, and when he entered the door, he saw that Xu Xiang hadn't looked up from the beginning to the end. Instead, he stared at the computer screen seriously, as if he was completely unaware of his arrival.

Hao Sui's excited mood and half-spoken words also came to an abrupt end.

He swallowed quietly, took two steps back, reached out and knocked on the open office door: "Dean?"

Xu Xiang raised his head suddenly, saw Hao Tamarin standing at the door, looked through the big brown square frame, and said, "Oh, Xiao Hao is here, sit down and talk, sit down and talk."

Hao Sui smiled cautiously, and said in a low voice: "I'm sorry, Dean, I was too excited just now, and I will definitely correct it in the future."

Only then did Xu Xiang take off his glasses, and his smile became more and more kind: "You, you are too outsider, although you are a little older than Xu Rong, but ah, you really have to learn more from him and learn to manage your business lead."

Looking at Xu Xiang's smiling face, Hao Tian felt it was extremely disgusting, but at this moment, he had to endure his nausea, laugh along with him, and pretend that he was willing to listen and was very teachable.

After Xu Xiang had a long speech, he seemed to think of something and asked, "What's the matter with you?"

Hao Tan handed over the latest issue of the Human Art Academy Journal, and said: "The Human Art Institute published a special issue, Director Xu's special issue, he expounded a brand-new performance theory and the corresponding pronunciation method that is extremely suitable for Chinese characters. "

The last time Zhai Tianlin plagiarized Xu Rong's thesis, Nortel lost face, and Hao Tian made a big fool of himself. Nortel didn't realize that the thesis was written by Xu Rong. The director didn't notice it, it really shouldn't be.

After all, Xu Rong is his immediate boss.

Since then, he has always bought the Journal of the Academy of Humanities and Arts as soon as possible. After seeing the content of the journal today, after verifying it, he has not slowed down for a long time.

Although Xu Rong is the leader, he has always felt that the status of the two is equal, but after seeing Xu Rong's latest research results, he dare not think so.

Even as a colleague, he can't feel the slightest jealousy, because the more he is a colleague, the more he can understand the extraordinaryness of this special issue. Even with this set of unfinished theories, Xu Rong can be regarded as a "drama master" title.

"Oh, new theory?" Xu Xiang said indifferently, "What's the matter? Doesn't he often publish papers?"

Hao Tian explained: "Dean, this is not an ordinary theory. I have verified it. After Director Xu completes it, this will be a brand new performance that will make him comparable to masters like Stanilavsky and Mei Lanfang." system."

Xu Xiang's eyes widened slightly, and then remained expressionless for a long time like a sculpture.

Seven days ago, under Zhang Heping's coercion and lure, he issued a letter of introduction.

There are three conditions in exchange. One is that Renyi will give up the quota of the Plum Blossom Award to Chinese Opera; the second is that Renyi will train 10 teachers for the school every year; [-]% off.

The first two are the resources that he can distribute. It is up to him to decide who to give and not to. The third is to make profits for the school. After all, Xu Rong is a rare talent. If you give it to Renyi for nothing, I am afraid no one will believe it He didn't get any benefit.

"Dean?"

"Dean?"

Xu Xiang didn't know how to explain to Hao Tian at this time, and more importantly, he seemed to have made a decision that everyone thought was quite stupid.

"Beep beep."

"Beep beep."

At this moment, a rush of phone calls rang, Xu Xiang suddenly woke up, glanced at it, and hurriedly picked up the landline next to him: "Hello, leader."

"Yes, yes, I read it, he wrote it." Xu Xiang replied while gently wiping the sweat from his forehead with his arm. The more the leader praised on the phone, the more he I don't know how to explain it.

He finally understood that Zhang Heping had sacrificed so much blood in order to transfer Xu Rong back.

He is a dancer and doesn't know much about acting, but from the importance of the leadership, he has realized that he may send away a world-class top scholar at the price of cabbage.

(End of this chapter)