Interpreting the Artistic Skills of Film and Television Performance (1)

1. The passion of an actor is the strong emotion that an actor shows when he experiences and embodies his role. It has two meanings: first, the actor has great creative enthusiasm for the role he plays, arouses strong creative desire and impulse, can fully pay attention to the fate of the role, make full use of his inner experience, burn out the emotion that conforms to the character and the specified situation, and give the role touching vitality. Second, it refers to the extreme emotions with strong explosiveness and impulsiveness, such as extreme fear, grief, anger, despair, etc., which are displayed by actors when performing high-tempo passionate dramas. It is difficult for an actor who lacks passion to raise his emotions to the required intensity when performing passionate scenes.

2. The fuzziness of performance is a pursuit of contemporary film and television performance. It refers to a performance that not only contains a single meaning, but also reflects the complexity and multi-level meaning of life. In order to deeply reflect the reality and keep the fuzziness of real life itself, contemporary screen performance should not be satisfied with the performance level of single direction, direct causality and simple concept, but need a performance with multiple meanings, rich connotation and extension. This kind of performance urges the audience not only to rely on the external causal logic, but to understand the deep intention of the creator through "feeling", which causes rich associations and supplements, thus increasing the information content of the performance. It requires actors to have in-depth observation, profound understanding, keen capture ability and accurate refining and selection skills. This pursuit is embodied in the performance creation of the film "Man to Middle Age". For example, in the scene of Lu Wenting, the heroine, eating sesame cakes, the actor's complex expressions reflect the rich feelings of the characters: guilt for his son, injustice at work, anxiety, fatigue, love and relief, bitterness and self-blame. Let the audience realize more meanings beyond expression, such as the characters' complicated experiences, their understanding and attitude towards the world around them, the subtle and complicated relationship between the characters and the people around them, and their complicated inner world. Pursuing the fuzziness of performance can avoid the simplification of the rich meaning of real life, but it must prevent the performance from becoming "ambiguous" and "hazy"

3. The sense of the times of performance ① The spirit of the characters in a specific era shown by the actors. The characters in each film and television live in a specific historical era. The social customs, lifestyles, people's psychological characteristics and manners in each specific historical era have specific characteristics of the times, which influence and constitute the unique spirit of the characters. The actor shows the unique spirit of the role vividly and accurately, which will leave a strong sense of the times for the audience. (2) The characteristics of popular performance styles in different periods. For example, the popular performance style in silent films, the dramatic films in the forties and fifties, and the modern films tend to be life-oriented, all of which have their own characteristics and will bring different feelings of the times to the audience. (3) a modern art view holds that no matter what era works are performed, actors' performances should have modern spirit. For example, in Shakespeare's Romeo and Juliet, actors have to explain and deal with the role with modern eyes before they can perform. This view of art has caused great controversy.

4. Drama performance ① One of the styles of film and television performance. The performance marks are obvious, the dress is strong, and some exaggeration is used, which is different from life. (2) In order to maintain the style and characteristics of the original drama, the film and television adapted from classical or modern stage plays still adopt appropriate performance techniques. It is characterized by a certain stylized movement and a sense of white rhythm in poetry, and has obvious forms of theatrical performance, such as long monologues and slightly exaggerated gestures in front of the audience. British actor Lawrence? Oliver's performance in the film revenge of the prince; China actors Diao Guangtiao and Zhu Lin both performed in the film Cai Wenji.

5. Life performance is a form and style of modern film and television performance. A form of performance that artistically reflects natural life. The evolution and development of film and television art and concepts has brought about the evolution and development of film and television performance forms and styles. The evolution of contemporary film and television technology and the exploration and exploration of film and television artists' expression techniques make the screen image more and more a realistic "natural form" and give play to the unique "beauty of life" (documentary beauty) of film and television. All people's audio-visual feelings in real life can be vividly reproduced through film and television. Contemporary film and television can be very similar to the real face of life when expressing exquisite artistic ideas. This aesthetic principle requires contemporary film and television performances to be more authentic, natural and life-oriented: (1). The actor's performance should be like not performing, and the audience watching the actor's performance on the screen is like watching the real person moving in the real scene, with a sense of closeness and identity.

(2) Life performance is by no means an attempt to replace artistic creation with life itself, and the true reflection of nature is not nature itself; It is also necessary to take life as the prototype, select and refine it, and then express it artistically in the form of life. Actors are also required to have high artistic attainments and skills, but they just hide art and skills behind their lives and integrate them into their lives when performing. It is this invisible skill that makes the performance on the screen reach the realm of "extremely fine, excellent and natural". (3) Life-oriented performance is to realistically create typical and distinctive characters on the screen. Screen performance should pursue the re-creation of personality based on life, the depth and unique artistic charm of performance, and achieve the unity of life and personality, and the unity of life and art (4) Life performance is the combination of documentary and typical, which is a realm of screen performance. Simple life forms have rich artistic connotations, including the complexity and fuzziness of life itself. Can arouse the artistic beauty, thinking and association of the audience. Excellent life performance should have rich connotation and extension, that is, it has the ideological content of "seeing the light and dying strong" and the artistic radiation that can make the audience associate.

6. Exaggerated performance is one of the styles of film and television performance. Often seen in comedies, movies or musicals. It is characterized by being good at using flexible and vivid body movements, absorbing the performance skills of dance, acrobatics and pantomime, exaggerating the shapes, expressions and movements of characters in a comedy way, and being good at ingenious conception, lively rhythm and beautiful movements. This exaggeration should be based on careful observation and refinement of real life, which conforms to the logical development of the characters' psychology; At the same time, actors are required to take those almost bizarre and outrageous behaviors very seriously to make them credible and true. One of the representatives of this performance style is Charlie Chaplin, whose performance in a series of films featuring tramp Charlot endowed the exaggerated comedy art with profound ideological connotation. Exaggerated performance style is also used in contemporary films with strong style, such as the performance in the Japanese film "Futenma March".

7. Stylistic performance ① The unique performing art style of opera, ballet and dance. Its actions come from life, and after refining and artistic processing, it forms exaggerated and beautified normative procedural actions, which are used to clearly and powerfully express thoughts and feelings and shape characters. (2) In the film and television performance art characterized by the real representation of life, it refers to a wrong expression method, that is, some rigid actions are used to explain emotions externally and superficially, such as holding your heart with your hands in pain, clenching your fist in your chest when you make up your mind, raising your arms in the air when you are desperate, or simply imitating and applying some expression. Shallow acting consultant. In China's traditional operas, facial makeup is a program that uses various colors to sketch patterns on the actors' faces, so as to highlight the characters' personality characteristics and play a positive and negative role. For example, red stands for loyalty and white stands for treachery. Some characters have their own specific faces. Borrowing the meaning of Facebook here, from the concept of role type, it vividly points out the surface performance of fixed external means to characters. Facebook performance didn't dig deep into the inner essence of the characters, and didn't grasp the complexity of the characters from the perspective of life; Instead, the characters are divided into positive and negative sides. The positive characters are labeled as unattainable heroes, while the negative characters are simply ugly, thus weakening the realism and depth of expression of the characters.

8. Repetitive image performance. Actors have no new creation and breakthrough in the performance of many films, and copy their own characters as they are. It is a common phenomenon that actors play the same type of roles in different works. If actors do not pay attention to creating their own different characteristics for these same types of roles, they will fall into the performance of repeated images, thus losing their artistic creativity. It is different from genre performance, which means that actors often play a certain type of role, but the performance of each role can have new creation and exploration.

9. Self-exhibition performance is a personal performance in which an actor expresses his strong consciousness on the screen and deviates from the role stipulated in the script. For example, some producers often attract audiences by highlighting certain characteristics of an actor. The concept of performance is a tendency to directly express the inner meaning of thoughts, behavioral intentions and emotions embodied by roles. Actors are bound to embody specific roles and some concepts given to them by movies and television, but if the concepts of roles are illustrated and explained on the surface, the intention of the creators will be directly revealed, which will lead to the overall sense of the roles. If the actor is afraid that the audience can't understand a certain shot or a certain scene, he tries too hard to express the emotional state of the character at this moment. For example, he was moved by the heroic behavior of his comrades-in-arms, and her concern for others was hypocritical; If "moved" or "insincere" is obviously exposed, the idea of concrete performance will arise. A performance with a strong sense of concept is often superficial, artificial and conceptual. The creator's intention should be hidden as much as possible, so that it can be naturally revealed through reasonable words and deeds to the role. Contemporary film and television performances tend to hide their ideas more and more. In the works of some film and television schools, in order to highlight the "alienation effect", emphasize rationalization and consciously use the expression of ideas to achieve the required unique artistic effect.

10. The actor who directly expresses the result lacks proper internal basis and experience to express the result required by the plot for the role. If an actor lacks a specific analysis and accurate grasp of the character, he only grasps the general external performance of the character's personality characteristics, such as the arrogant and rude glare of the strong, which leads to the direct performance of the character's personality. If the actor does not have sufficient inner feelings and lacks the process of emotional change, simply using some explanatory actions or expressions to express the emotional shell of the role will lead to the direct expression of emotions. For example, "grief" is a general emotional concept. If an actor wants to perform this kind of emotion of a role, he must know the specific emotional activities of the role in depth and in detail: under what circumstances and what happened caused the grief? What kind of emotional changes are aroused in the character's mind: is it an effort to suppress or a sudden outbreak? Are you hiding your sadness, or are you deliberately showing your sadness? How do people express their grief at this moment: silent pain or crying? Is it sudden dizziness or strong self-support? If you leave the prescribed situation and personality, lack of internal basis, and just make a sad appearance, the performance will become superficial. At the scene of film and television shooting, the director often puts forward requirements for the actors from the emotional results of the characters needed for the lens, such as making a certain lens, so that the eyes gradually turn red, tears gush out, and tears slowly flow down from the corners of the eyes. Actors must complete the requirements of the lens at the moment of real shooting, which requires actors to fully understand and brew the emotional activities of the role before shooting, have skilled skills, and can immediately mobilize their feelings to adapt to the characteristics of film and television shooting. Some western directors regard actors as an activity tool to reflect their creative intention, and they require actors to complete only the actions specified by the director in front of the camera.

1 1. One of the characteristics of imaginary film and television actors' creation in film and television performances. (1) the assumption that actors create roles. The characters, plots, relationship between characters and specified situations in the script are all fictional by the playwright, which constitutes the assumption of the actor's creation. Performing arts is to create with falsehood in these assumptions, so as to achieve the balance and unity between truth and falsehood, actors and roles, life and art. The fidelity of film and television performances on the screen is often completed under the great assumption of real shooting. Such as intermittent and upside-down shooting; Perform object-free communication in front of the camera; Borrow technical requirements such as sight and state; The shot of background overlapping stunt shooting; And because of the production cycle and other conditions, we have to shoot the invasion of cold in summer and the suffering of hot summer in winter, and we will encounter various complicated situations. Therefore, film and television actors should have a strong sense of faith, rich imagination, expressive force, and the ability to concentrate and adapt.

12. The sense of lens in performance: the creative sense of film and television actors performing in front of the camera. The performance of film and television actors is indirectly communicated with the audience through lens shooting and screen projection. We must establish a "sense of lens" different from "sense of stage". Including: (1). Life in front of the camera (2). The specific feeling of the picture effect. The freedom of time and space of film and television provides a broad performance world for film and television actors. However, this freedom needs to be embodied through a limited lens framework, so actors should adapt to the unique performance field of film and television (3). Adapt to different photography skills. Actors are required to adapt to the needs of photographers and lighting technicians and be familiar with the different requirements of different photography skills (push-pull, tilt, long focal length, zoom, etc.). ), and can grasp the specific feeling of camera shooting (4). Adapt to different scenes and Mondays. Film and television actors should not only analyze the playwright's film and television literature scripts, but also learn to analyze storyboards and conceive their own performances according to the director's montage. For example, different scenes need different performance measures and means to reflect. Remote (or panoramic) and close-up (or close-up) polar shots require actors to use different action ranges and performance skills in their performances. The former emphasizes the expressive force of the external body, while the latter needs rich inner experience and subtle facial expressions (5). Complete the scene scheduling unique to film and television (6). Adapt to the special skills of film and television such as studio, real-life shooting, no object communication in front of the camera, borrowing seats and borrowing scenery.

"Performance skills are very attractive and easy to use, but if you don't integrate into your natural speech style, you will take risks, lose authenticity and become blunt and deliberate." How to avoid it? You must practice and observe the feedback until you are sure that the performance skills in your speech are gone.