Chapter 389

"Experiential school", as the name suggests, emphasizes the deep experience of the actors' inner feelings and integrates the actors' inner feelings with their roles. The famous Stanislavsky's "self cultivation of actors" is. Methodism is that actors use their bodies and expressions to express the inner feelings of their characters. It requires that they should be consistent with their characters both on stage and behind the scenes. The famous representative is Marlon Brando. Expressionism is a clear distinction between self and role, not only close to each other, but also understand that role is role and self is self. Emphasis on the form of physical action, focusing on the outside

Every time we learn theoretical knowledge, we are most likely to doze off. But Bo Yan is not to drop the bag, just to ask her: "what kind of situation are you?"

After Xia Siyu's reply, she can use different methods of various schools to teach her, and get twice the result with half the effort.

Xia Siyu hesitated: "the first one."

That is the experiential school, which integrates its own experience into the characters, and uses its own life experience to experience the feelings of the characters.

No wonder she plays chick movies, but because of the self substitution, the role also has a soul. Although the landlady in the tempest is a little charming, her heart is also full of love and hate, which is a combination of her personality.

Bo Yan said: "there is no problem with the experiential school. The problem is that you want to create different characters, some very rich characters. You have no life experience or experience. You can't get close to the inner world of these characters by your own imagination. That's your defect. "

The role she is going to play in "spring light" is a capitalist in a special era, a female college student in a big city, an intellectual woman who has been persecuted in her family, and she is sent to the Northwest Mountainous Area. It's not hard to be a capitalist. Female college students have to be proud and scholarly. As for going to the northwest mountains to experience hard life, she can also do it. But it was a special era. There were ideological conflicts, confusion, persistence, and pride hidden in the body.

And then there is the feeling for the man.

Before the male leader and the female leader did not know each other - it's not right to say that they did not know each other. The male leader was instigated to do something that many impulsive young people had done at that time and took people to criticize the professor. And this professor is the mother of the woman. But before the smashing, the man repented and didn't go on, but his other partners followed him and hurt the woman's mother.

That's the trigger.

Later, when the University closed, the male owner went home and met the female owner.

They have hatred, but they are the only people who can speak. The male master learned knowledge, and when he returned to the local area, he was regarded as a black five villain. He was attacked with the female master. The same situation brought them closer. After driving away the rascal who bullied the woman, the man could not help being a rascal and forced her.

She loved and hated him. When she faced the villagers' Crusade, she was consistent with the outside world. In private, she had no emotional communication with each other except to spend the night together.

Finally, the woman returned to the city, and the child was left to the man. The man keeps watch over the small house where the children live with them, waiting day and night for the woman to come back. But only God knows if she will come back.

In fact, after reading the script, Bo Yan felt that this was their portrayal.

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