Final study of the second semester

With the integration, the rehearsal is carried out in an orderly manner, and the second semester of the freshman is coming to an end. Looking back on the performance class since the semester, I feel deeply.

Let me first talk about my own masterpieces this semester. This semester is based on the teaching plan. Each student has to submit three works, that is, complete three rounds of Chinese mid-length novels. My three works are "coming and coming", "Far Mountain Scenery", "Flowering Land", among which "Far Mountain Scenery" is a monthly exhibition of art practice in the final exam and the second semester of the sophomore year.

This piece of "coming here and coming" was completed by me and Xu Mengjie. Kang Weiye is played by me, and Lin Zhu is played by Xu Mengjie. At that time, there was a serious stage accident. After 3 minutes of opening, due to the unstable placement of props, there was a serious stage accident in which the props cabinet collapsed on the field, which caused the performance to continue. The actors jumped directly to the laughter. This is very inappropriate, because it was clearly stated during the basic training of the performance. No matter how big the stage accident occurred, the actors should maintain a sense of realism and belief and try to adapt to the accident rather than being easily affected. As far as the work itself is concerned, Xu Mengjie and I describe the characters and images in the novels very far apart, and do not grasp the tone of the whole novel. The protagonist's life age, background, and psychological process are all ill-considered and excavated, leading to emptying on the stage, without the basic image of the character.

This fragment of "Far Mountain Scenery" was completed by me, Ding Yingying, Yang Yi and Zhang Wei. Wu Sanda is played by me, Huang Xiangxiang is played by Ding Yingying, Wang Youcai is played by Yang Yi, and the treasurer is played by Zhang Wei. The biggest problem in this script is the arrangement of the whole structure. The selected clip content does not fully express the characteristics and logical thinking of Wu Sanda's characters, but pays attention to the depiction and display of the other three characters. When I played Wu Sanda, I had some sense of realism and belief, but it was not enough, which led to tension, and the physical movements were unnatural and uncoordinated, and they were untenable on the stage.

This fragment of "Flower Land" is my favorite piece. From the content of the novel and the life, emotion and destiny of each character, I am deeply attracted and impressed me. For the life experience of the protagonist roots, I am subjective. It means sympathy and compassion, but when portraying characters and shaping characters, it is fascinated by subjective imagination, losing the true prototype of the character, that is, the character's character and mental movements, so he panicked on the stage. There is no confidence and realism in shaping the external image of the character. In particular, the communication with the opponent Nie has a certain period of time, not very good feelings of the other side of the stimulus, in the more passionate action is also very unnatural, leading to the results of seeing things are not seen.

In addition to the above three main creations, I participated in the performance of twelve clips, namely the hackers in The Crescent, Zhang Si Da in The Ling Ling Yu, and the old man in the two chickens. Shao Dashan in "The Year", Tian Ji in "White Lotus", Lu Dapeng in "Zero Workshop", the villagers in "The Wild Girl", Qian Dabao in "Detective Fans", the head of "Tsing Yi" The little man in "Hei", the Tengu in "Tiangou".

Through the shaping of these characters, I gradually learned how to shape characters. For a character to be played by an actor, the script must first be roughly reviewed, initially to understand the whole process of the incident, to find the character of each character from the incident, and then to further understand by reading the whole novel. Potential things inside and outside the character. The character of a person's character is directly expressed in his external appearance, language and behavior, so the actor needs to grasp the keynote of the character from all aspects, whether from the processing of the lines, the psychological activities or the actions of the physical body, we must strive for excellence. It is necessary to live a person instead of simply expressing one person.

Scripts and novels are words, so how do you transform from words to images? This requires the actor to have a higher literary accomplishment and cultural heritage. Through careful and repeated study of the script and novels, find the details and find everything related to the character and image, such as background, experience, and major events. Wait, from these seemingly insignificant things, you can dig into the things that many characters need in the script.

Last semester we mainly read the novel, refined the details, and then organized into a small script. The conversion from novel to script is also a difficult process. A novel is in the hand, first of all to understand the basic relationship of the characters, and to clarify the character's primary and secondary. An excellent novel will never be described by only one event. Therefore, the creator itself needs to grasp the context of the novel and refine the essence, so as to organize a good script. Many students in the last semester chose the novel "Xu Sanguan Selling Blood", but the adapted works failed to capture the central events of the whole novel, so I wasted and lost many elements that can be deeply explored and created.

The following is about rehearsing. Rehearsal is a basic training that an actor has been doing all his life. In the rehearsal, he finds the character and feeling of the character, and exercises his sense of reality, belief and ability to adapt to the opponent in the rehearsal. The rehearsal of the novel script is different from the rehearsal of self-directed self-directed self-study in the last semester, because we must respect and grasp the basic style of the novel, we must not exaggerate, and we must not be too cautious. We must describe the second degree of the character according to the details of the novel. creation. In the rehearsal, communication with the opponent is crucial. Once a detail is not connected, the whole structure will be chaotic, leading to the front and back, which will affect the stage presentation of the novel fragment. In the last semester, many of our classmates did not make full use of the precious opportunity of rehearsal, but mechanically arranged, did not understand the arrangement and understanding, and did not know how to re-create with imagination. These are issues worthy of reflection and improvement.

Professional ethics. Learning to play first is a basic principle that many teachers are teaching to students, and rising to a higher level is professional ethics. In the last semester, all of our classmates did not do well in terms of professional ethics, especially the “嗑嗑子子事件” at the end of the final day of the performance test, once again exposed our usual bad problems. As a person who specializes in performance learning and practice, we should always ask ourselves, treat the profession, treat ourselves, and treat the audience with high standards.

Finally, let's talk about the relationship. As a part of the play, the actor must be the character played in the play.

Service, but one thing to note is to treat the audience, which is what we often say. Whether on the stage or on the screen, the actors' works must be tested by the audience, so we must pay attention to the issue of a relationship. In front of the stage, you must not over-express the atmosphere, follow the feelings and tone of the work, and should not be influenced by the audience under the audience. This is not a good actor should do. In front of the film and television lens, the most important thing for the actor to pay attention to is that it must not be distorted! Once the distortion is played, it will cause the audience to understand the deviation of the work and question the actor's acting skills.

The freshman has passed this way. In fact, there are still many questions worthy of our discussion and reflection. In the future performance professional study , I will be stricter to myself. More rehearsal, more practice, play from people!