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Chapter 470 Teacher Wu Lectures (4200+ chapters, please subscribe~)

Wu Jianye and Xie Yuan were the first to come to this year's freshman class. They had just finished their military training and their faces were still a little dark and a little jerky. Except for those who had performance experience before, they could get acquainted with unfamiliar people more quickly. The environment, pure freshmen always have some hands and feet that they can't let go of.

So when a big figure like Wu Jianye appears in the teachers, it will still make them more nervous, and at the same time want to show their maturity or professional ability in front of Wu Jianye, but they don't know, the more they This is the case, the more mistakes you will make.

But Wu Jianye didn't care much about these things, who hasn't been young yet.

To be young is to be youthful and youthful.

Wu Jianye first greeted Professor Lin Hongtong, the head teacher of the performance department of the 88th grade, and then sat at the back of the classroom like ordinary students.

Wu Jianye could clearly feel how the eyes of the students slowly moved along his pace when he walked through the classroom aisle, until he was sitting in the back of the classroom, everyone's eyes would still look at him from time to time .

The desire in the eyes is obvious.

Seeing this, Professor Lin Hongtong shook his head with a smile. The film acting skills taught in this class, but now looking at the situation of the students in the classroom, it is obvious that all of them have no intention to listen to it because of Wu Jianye's presence. .

So Professor Lin Hongtong also directly changed his previous thinking, and said, "Director Wu, why don't you tell me how you view acting?"

Wu Jianye had just sat down. He had chosen the actors himself, but he never expected Professor Lin Hongtong to let him give a lecture.

"Professor Lin, this is not good!" Wu Jianye wanted to refuse.

Professor Lin Hongtong smiled and said, "There's nothing wrong with it. It's not that you haven't given lectures to students from the acting department before. I think the students sitting here must also want to hear your opinion."

"Correct!"

There was a deafening shout in the classroom.

"Ahem, then I'll be in the class!" Wu Jianye stood up helplessly, and walked back to the podium again, and then the students in the audience immediately sat up straight, as if they were about to accept peerless martial arts.

"First of all, I would like to congratulate everyone for being admitted to Yanjing Film Academy. As the students with the highest level of acting in China, being able to get here already shows that you are more suitable for this industry than most people."

Wu Jianye said with a smile, hearing Wu Jianye praise Yenching Film Academy as the best film academy in China, 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 an actor in the future. First of all, my hope for you is that you will be proud of being an actor in the future, instead of simply pursuing to be an actor. star!"

Jiang Wenli from the audience shouted: "Director Wu, isn't an actor a star?"

Wu Jianye smiled and shook his head. To be honest, there is no such obvious gap in this era. I don’t want to think that even if a person in the future does not even have a representative work, as long as he twists a few times on the stage, he can play basketball and earn money. The pot is full, and there are very few people in that era who can calm down and be an actor quietly.

"There is still a gap between an actor and a star. An actor's mind is more on the presentation of his own film and television works, but a star? Everyone must know that they are going to go out now, right?"

Walking acupoints 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 walking acupuncture points!"

Wu Jianye smiled: "That's what it means. It is true that walking acupuncture points can make everyone more money, but there is less time left to study acting skills and experience life. Time is fair. Everyone has so much time every day." If you choose this industry and just want to change your life, then I have no objection to everyone going to the cave, but if you want to make more breakthroughs on the road of actors, then going to the cave will greatly hinder your future. develop."

When everyone in the audience heard what Wu Jianye said, some people fell into deep thought. The income of the actor industry at this time is not considered a real high-income group in China, but it must be higher than ordinary working people, but people My greed is insatiable, especially when I see my friends around me. Some people just go for a acupuncture point, which is worth my salary for a TV series. It is impossible to say that I am not tempted.

But as Wu Jianye said, people have to learn to choose.

Wu Jianye saw that everyone didn't talk, and he didn't continue to delve into this topic. He is not a person who likes to change other people's ideas too much. If he has his own ideas, it's fine. As for the future, they still have to go by themselves .

Then Wu Jianye told everyone about his understanding of performance.

"Some people divide performances into three categories, namely experiential, method, and expressive!"

"The requirement of experiencing party performance is: start from the self and live in the situation of the character."

Hearing this, Professor Lin Hongtong frowned slightly, because he didn't think that the experiential school should start from himself. But now Wu Jianye is giving a lecture, so he didn't say much, but he still wants to meet Wu after class Discuss it at night.

"Actually, the misunderstanding of experientialism in our country is the biggest. For example, what I just said starts from the self." After Wu Jianye finished speaking, Professor Lin nodded. He really thinks so.

At this time, even Professor Lin was attracted by Wu Jianye's class, and he wanted to see what Wu Jianye could say.

Wu Jianye aggravated his tone and continued: "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 "start from the self" throughout the performance.

So is "starting from the self" and "becoming a character" contradictory?

I don't think there is a contradiction, because you have to live in the character's situation.

For example, if a young man plays an old man, the experiential method is not to imitate the old man, but to let himself believe that the situation of the old man happened to him, such as to believe that his joints are not good, his glasses cannot see clearly, his ears Inaudible... I am still myself, but the situation has changed.This example is given to make it easier for everyone to understand. In fact, young people acting as old people can only be used as a teaching exercise. In real creation, the experiential school advocates that actors should be as close to the role as possible.

Therefore, what the experientialists say "become a role starting from the self" does not mean "starting from the self and then becoming a role", but "becoming a role starting from the self", and "starting from the self" is the meaning of "becoming a role". basis, the two cannot be understood as two separate processes.

So isn't "starting from the self" a real performance?Is there no technical content?

Wrong, starting from the self is the hardest.First of all, it requires revealing the character of the self that may not want to be known.

For example, if you send a straight man to play a gay role, he can't pretend to be someone else to imitate, but can only show even a little bit of affection for men in his heart to the role, and really use his gay side to express Show people.

Secondly, it requires belief in the situation, such as believing a fake gun as a real death threat, and requires a subconscious response in the situation, rather than a designed performance. This kind of belief is much more difficult than design.

In the end, you have to do a lot of homework to flesh out the character's situation, to make a fictional situation as full as life, and the amount of content that needs to be filled in is quite amazing.

So does "starting from oneself" mean that an actor can only portray a character with one character?

no.

Because the character of a person is multifaceted, it is a large collection; and the characters described by the playwright cannot be as rich in personality as a living person, so it is a small collection.

A large collection can cover many different small collections, and an actor can perform his true colors for a lifetime, and perform many different roles.

Therefore, the experience school’s process of creating characters from the self is doing subtraction—removing the part of the large set of self that does not fit the small set of roles, and trying to make the two sets overlap, which is both the self and the role;

Instead of adding, add something that is not your own.

For example, people in daily life may look different in front of colleagues and family members, but they did not add a personality that does not belong to them or imitate anyone, but only hide part of their personality in different situations.

So what if the big set of selves doesn't contain the small set of roles?

One is to expand the self-collection, that is, to dig out one's hidden personality and liberate one's unliberated nature; the other is if the self is too far away from the role, then don't play that role.

Stanislav said that the director must first be familiar with the actors under him, so that he can avoid the situation of choosing a piece of tofu for steak when assigning roles. To make a steak, you must choose the right part of beef. It may be very cool to use tofu to make steak , but not really good food.

In general, the experiential school is the most difficult of the three schools, and also requires the most talents: the gift of self-liberation and the gift of trusting the situation.There are only a few actors who are talented enough to meet the requirements of the experiential school, so many people who can't go on are unwilling to admit that they are not talented enough, and instead tamper with or oppose the experiential school.

The aesthetic pursuit of the experiential school is truth, and everything is to make the actors' performances achieve a sense of reality that is close to life and subconscious. "

Wu Jianye explained his own experience of the experiential school by asking and answering himself. As he said, a large part of the domestic understanding of the experiential school is wrong. This is just his own understanding. Come out, especially in his current position, and say such things.

It is bound to cause a great impact, and it will also become the focus of discussion among various universities in the future, and it will even bring some troubles to Wu Jianye.

But Wu Jianye didn't care, at his current level, he already had the ability to deal with these troubles.

Professor Lin Hongtong also fell into deep thought after listening to it. He still has no way to distinguish whether what Wu Jianye said is right or wrong, but he can be sure of one thing. caused great discussion.

After a long time, some students continued to ask: "What about Methodism and Expressionism?"

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 replace communication partners, while the experience school does not.

For example, it's a straight man playing a gay role, and let him fall in love with a man.

The method school allows the straight male actor to imagine the opponent replacement as a woman, but the experience school does not.

The experience school requires that you must find the part you love from this same sex.

The reason for this difference is that the method school evolved after the experience school was introduced to the United States, and in the United States, movies have gradually become the largest stage for performances.

In the filming of a movie, actors do not have a real communication partner every time, and the most realistic performance only needs one, and there is no need to repeat it repeatedly.Therefore, in filming, it is sometimes necessary and harmless for actors to replace communication partners.This is different from the requirements of stage play. "

"As for expressionism, "expressionism" does not emphasize starting from the self, but emphasizes first constructing a "role image" in the heart, emphasizing imitation.

At the same time, expressionism does not advocate subconscious living in the situation, but emphasizes "jumping out" to make decisions and designs.

Some people say that the experience school is Steiner, and the expression school is Brecht.

The first half of the sentence is correct, and the second half of the sentence is wrong.

The "alienation" advocated by Brecht is a performance effect, which is more achieved through screenwriting and directing rather than a performance method.

In his own acting practice, Brecht hoped that the audience could be alienated, but still required the actors to experience.

In order to find a theoretical basis for their own performance methods, some performers in China just used Brecht as a banner, and many people were deceived.

As for some people saying that experientialism is from the inside out, and expressionism is from the outside in... it is also wrong.

The experiential school requires the "subconsciousness" that is organically completed both inside and outside. When performing, the actor's attention should neither be on his external actions nor on his own heart, just like people's attention is not on themselves most of the time in life. But with the opponent and the environment, neither the inner feeling nor the external behavior is deliberately produced, and it should be like this when performing.

The "physical-psychological action method" in Steiner's later period is actually a method for the director to lead the actors to improvise in order to help the actors achieve subconsciousness, not the "from the inside out to the outside in" as some people's name suggests in his later years. '. "

Speaking of this, Wu Jianye smiled and said: "Sometimes I really admire the ability of some people in China, as the name suggests, and their courage to make bold assumptions and "innovate" the existing theories of others."

Following Wu Jianye's explanation, the students in the classroom have gradually forgotten that Wu Jianye is the most powerful director in the country, and they regard him more as their teacher.

"Then Director Wu, do you mean that we only need to find one of our own schools among these three schools?" A student asked.

Wu Jianye shook his head: "Of course not."

(End of this chapter)