From traffic to movie star

Chapter 342 Stunning Performance Faction Theory (addition for Hall Master 'x Zhihuo')
Generally speaking, what the audience likes is actors with 'explosive power'.

For example, there is a special aura, for example, the crying is very sympathetic, and for example, the lines are very strong, and the role played makes people feel inexplicably shocked.

In the eyes of the acting school in the industry, these are actually not worthy of praise.

Because this is the basic skill of being an actor.

And purely in terms of explosive power, in fact, many actors may not be very good at what they do. It is the blessing of some external factors such as dubbing, special effects, makeup, etc. that can achieve some amazing effects for the audience.

But these flashpoints are short-lived.

On the contrary, the most difficult role to perform is not a short-term outburst, but a continuous and stable emotional output.

For example, Wei Xun is currently playing the role of Cheng Yong.

His mental journey, his state of being tortured by life, he gritted his teeth to smuggle imported drugs, and later, because of the poor leukemia patients, because of Lu Yiyi's death, he decided to give up his benefits and smuggle drugs for the patients for free.

This is an ordinary little character who has a personality change in a story, has the ability to think independently, has stains but also shines.

Regardless of whether it starts from the script or the characters, this is a very good story, and the characters are well-developed.

There is a shortage of such high-quality scripts in the film industry.

So after watching "I'm Not the God of Medicine", Jiang Duzhou and Shao Bing were both moved by this story and took the initiative to participate in this project.

And now after watching Wei Xun's performance, Shao Bing wants to say that Wei Xun not only writes the story perfectly, but also performs it perfectly.

"Crack."

Shao Bing, who was sitting behind the monitor, yelled to stop, then stood up with admiration and said, "Awesome, your performance is getting more and more stable now, the scene of the Hongmen Banquet in "Let the Bullets Fly" last time I wasn't there, Lao Jiang kept praising you to me afterwards, today I sat behind the monitor and watched you act, and found it really a kind of enjoyment."

Why do big directors like to work with big actors?
Because this kind of talented actor knows everything, he doesn't need you to say much at all, he can perform everything perfectly by himself.

For example, Cheng Yong, played by Wei Xun just now, is just like a depressed little man who lived at the bottom.

The vicissitudes and numbness in his eyes, his speech and demeanor, are so real that people think he is Cheng Yong himself.

Jiang Duzhou muttered next to him: "This is too perverted. You can just get into the play right away, and you don't need to adjust at all."

They just came out of the dressing room together.

Then Wei Xun went on stage directly, seamlessly switching to Cheng Yong, acting as casually as eating and drinking.

And Yi Heng and An Shi also looked in admiration and amazement.

Director Wei's directing movies are already amazing enough to make people fall in awe, but standing in front of the camera, his acting skills are also beyond their reach.

That back-to-basics, smooth and natural feeling seems to come at hand, if it is not a great skill, how could it be possible to do it so lightly?

"I'm different from you. After all, I wrote this script myself. When I was writing the script, I was already thinking about the role of Cheng Yong."

Wei Xun smiled and said, "So it's not as exaggerated as you think, and..."

"Boss Wei."

At this time, a scene manager came over and whispered to Wei Xun: "The people from "Film Weekly" have come over and just watched a part of your performance. Their editor-in-chief came in person. If you finish the work here, go and They talk."

Wei Xun nodded when he heard the words, looked at Shao Bing, and said, "Then you shoot first, and I will go over there for an exclusive interview."

"Film Weekly" came here this time to chat with Wei Xun about acting skills.

And Wei Xun intends to slightly weaken his image as a commercial film actor, transitioning to an acting actor, so he agreed to this interview.

Because it is an exclusive interview with the crew, the venue is relatively simple, just in the indoor studio.

"Hi Director Wei, I'm Yuan Ye, the editor-in-chief of "Film Weekly". I had the honor to watch your live performance just now. It's amazing."

Yuan Ye is a middle-aged man in his 50s, with a rather bookish face. He looked at Wei Xun, got to the point as soon as he came up, and asked in admiration: "I would like to ask, why can you play this role so well... …Well, it’s so vivid. In other words, I haven’t read the script of "The God of Medicine", and I don’t know what kind of story it is, but I just watched one of your performances, which made me feel clearly aware of your performance. What the role is like."

Wei Xun said with a smile: "Because when I was acting, I turned myself into Cheng Yong himself, to follow the thinking of Cheng Yong, and do what he should do."

Yuan Ye was a little surprised when he heard this: "But there is no such thing as 'Cheng Yong' in reality, how can you imitate it? For example, Zhang Mazi in your last work "Let the Bullets Fly" is even less likely to be Prototype."

imitate?

Wei Xun shook his head with a smile, and said: "Actually, imitation is only the shallowest level in the performance system, and it is not a way to get on the stage. A true acting master will turn himself into the character himself, and then experience the role emotion."

"How to experience a character fabricated out of thin air?"

Yuan Ye asked: "As far as I know, in our existing performance system, there seems to be no such term as 'experiencing the role'."

Wei Xun nodded in agreement, and said: "Yes, I think our current performance system is too vague, and there is no division of various performance methods. In my opinion, the performance system can be roughly divided into three factions, Expressionist, methodological, and experiential."

Yuan Ye's eyes lit up.

He came here this time to discuss some knowledge about acting skills with Wei Xun. This is also an important reason why "Film Weekly" can become an authoritative film magazine in China, its professionalism.

But Yuan Ye didn't expect to be able to hear the private goods of "performance faction classification" from Wei Xun's mouth.

Because no one has ever clearly divided the categories of performances in this way.

Yuan Ye asked: "Is it convenient to talk about the concepts and theories of these three factions in detail?"

"Let's talk about it briefly. For example, the method school is actually what you call the imitation school. It is essentially a performance. The character cries when he is sad, and laughs when the character is happy. role. But in fact, such a performance is rigid and without core.”

Wei Xun pondered and said: "The experiential school is to turn yourself into the character itself, start from the self, and live in the situation of the character. Only the 'self' can complete the real experience, that is, 'real listening, real seeing, real feeling. ', only by bringing yourself into various character situations can you truly shape the character from body to soul."

If a person can justify himself in a certain theory, then he can be regarded as a theoretical master in this field.

In fact, Yuan Ye didn't pay much attention to Wei Xun's "acting faction theory" at the beginning.

After all, everyone has some ideas of their own, and then organize and express them in their own language.

But after listening to Wei Xun's explanation, Yuan Ye felt that his heart began to beat faster.

Because he felt that Wei Xun's "acting faction theory" was very predictable, it sounded very convincing, and it was amazing!

Maybe the sorting out of this interview can trigger a big discussion in the performance industry.

Thinking of this, Yuan Ye suppressed the excitement in his heart, and continued to ask: "What about the method school, how does the method school understand it?"

(End of this chapter)