Actor: My Entertainment Era

Liu Yifei knew that her coming to the symposium today had more symbolic meaning, and the same was true for letting her speak.

No one would expect Liu Yifei to be able to talk about the topic of "youth performance education". After all, many people know that Liu Yifei did not take classes well in school.

She also did not undertake teaching tasks in the theater and never took care of students.

This kind of recorded and filmed symposium is actually very boring, with basically no practical information. The spokespersons of the theater and the college are talking in gobbledygook. At most, when giving examples, they are combined with some real-life examples. For example, Dean Wang Xiaoying said In order to promote the annual training of newly recruited actors by the National Theater, Wang Jinsong played the final performance program of the undergraduate drama class last semester at the meeting, praising the achievements of film and television and drama class teaching.

Liu Yifei dozed off while listening to the rest.

Liu Yifei's speech was written by the theater, she just had to read it according to it.

Master Tang said to Zhang Mazi: "Your county government is just a decoration. The only way to judge cases is to go to the tea hall, and that is the real county government."

In the same way, the symposium is a decoration, and the real communication takes place at the dinner party after the meeting.

Wang Jinsong has been on the front line of teaching and performance practice. He feels very intuitively: "In the past two years, the newcomers have become increasingly inferior, and the quality of graduates has also declined. It is very obvious."

A teacher from the academic affairs office of the college added: "More and more students from training classes are taking exams now. In fact, our teachers prefer blank paper, but there is no way. This is the trend."

The art exam has just ended, and the teachers really have a lot to say.

The problem in the theater is similar, but it is much better than in film and television: "Maybe there is not much money to be made in drama, so newcomers are willing to settle down and do it well."

However, the current problem encountered by the National Theater is that there are too few repertoires and performance opportunities. Almost all newcomers sit on the bench in the first three to five years after entering the theater.

"We also want to speed up the training of newcomers so that they can become the mainstay as soon as possible, but there are too few opportunities. Classic and old dramas are performed by old people, and there is not one new drama in a year. We finally arranged it, and the first round has been completed. , I don’t know when the next round will be, and it won’t be able to train actors.”

"Commercial tours are difficult to do. There are only a handful of theater troupes in the country that can make money from tours, and the market is still too small."

Although the National Theater Company is not box office-oriented, theater leaders also know that active tours are the best way to train actors and train the team. If you can earn box office, it at least means that the audience likes to watch your play. If there are audiences to watch, the theater will be more prosperous. vitality.

"I don't like what people say that Yifei comes to the theater to occupy the position of ordinary people." The theater leader also complained on Liu Yifei's behalf, "Yifei's performance at least brings the audience into the theater, which is good."

This is also a benefit of traffic.

Liu Yifei was fighting for love. When she learned that Zhang Yuanjun was taking the talent test, she took the Chinese test and was admitted to the National Theater of China.

Liu Yifei laughed and said: "I'm still embarrassed. Every time I perform, I am obviously a supporting role, but my fans in the audience shout the loudest."

"It's okay, the audience comes to see it, everyone is watching it."

Wang Jinsong agreed: "Yes, no matter what you are watching, the most important thing is to be willing to walk into the theater. If 100 people come in to watch stars, after one, two, three and five performances, in the end, if 10 people can stay, A person who watches a drama is considered particularly successful.”

The domestic drama market is still too small, and China does not have a professional stage drama platform like Broadway. The best theater viewing atmosphere in the country is in Beijing and Shanghai. "Broadway is not easy to do now," Wang Jinsong said. "I talked to the stage director of a Broadway theater a few years ago. He said that the audience flow on Broadway is not as good as before, and the theater has to cancel many performances, except for some classic old plays. No one’s watching the new show. Do you know what’s the most popular show on Broadway right now?”

"what?"

"It's a bit embarrassing to say it, but now many theaters rely on striptease and erotic performances to survive." Wang Jinsong also lamented the decline of Broadway.

From a global perspective, the drama circle is not that big. There are only a few famous playwrights, directors and theater troupes in the world, and everyone knows the specialty plays of each theater troupe.

Maybe we met at a theater festival last month, and we met again at the art festival next month.

As a junior, Liu Yifei, some jokes are more suitable for her: "Isn't it about education for young actors? How come it has become a grievance meeting."

Everyone laughed.

"Yes, yes, the more you talk about it, the more serious the atmosphere becomes."

Speaking of education issues, Wang Jinsong said that the film school is divided into two classes: film and television and drama, just to use some new methods to see if they can be effective: "In 13, we invited Yuan Zheng to come to the school to teach for a few days. The photography students took acting classes for 18 days and then went on stage to report on "Hamlet". The effect was very good. From then on, we came up with the idea of ​​setting up a drama class. Last year, Yuan Zheng also came and arranged "Sunrise" for us. 》.

"Yuan Zheng is still good at teaching students." Everyone in the theater admires Feng Yuanzheng. In 13, he arranged "Hamlet" for Nortel photographer students. The effect was so good that it caused quite a shock in the circle. "His Grotowski’s stuff works.”

Liu Yifei pricked up her ears to listen at this time. She was very interested in these things, and she also wanted to know what other acting schools were about.

However, she was destined to be disappointed. This group of professors, deans, and senior scholars criticized Stany at the dinner table.

"There have never been three major systems. The three major systems are imagined by us drama educators. Because we were close to the Soviet Union at that time, we introduced Stanislava's method, and because Mr. Mei brought Peking Opera out and cooperated with Staani We have shaken hands and had dinner with Ni, so we call Meipai another system. The Stani system has the most profound influence in the world, but it should not be called a system, but a method.

"Whether it's Stany, Mei Lanfang or Brecht, they are all methods, not systems."

Stani has been spreading in China for sixty or seventy years, and everyone has seen its benefits. The academic community is also reflecting on Stanislav's shortcomings: "Many of Stanislav's things are actually relatively backward. Stanis broke the performance process into many small subjects, liberating nature. , animal imitation, concentration... will you be able to perform after practicing these? Many people can't do anything on the stage after learning Stani. He has no shaping ability.

"Stani dismantled the performance too finely, just like putting a bunch of parts in front of you, and you can't assemble them. In fact, Stannie also realized that there was a problem with his performance system in his later years, and tried to modify it, but it was too late. He His disciples and disciples have spread his theories and methods around the world, and Stany himself cannot change it.”

Liu Yifei listened carefully to this group of professional scholars discussing Stani and other performance methods around the world, and felt that she had benefited a lot.

"However, it is one thing to be aware of the problem, and another thing to actually teach. We are still teaching animal simulation and liberating nature every year." Wang Jinsong said, "So we hope to introduce power from the outside, not to mention change, at least bring Come in with something new.”

"I think Yifei can come to school for two classes from now on."

Liu Yifei was stunned and waved her hands repeatedly: "Me? I can't do it. I can even learn Stanislava. If I teach, won't I be misleading others?"

"Hahahahaha!" The whole audience laughed. (End of chapter)