Wu Jianye and Xie Yuan first came to this year's freshman class, they just finished military training at this time their faces are still a little dark, but also a little jerky, except for those who have had acting experience, can be more quickly familiar with the unfamiliar environment, pure freshmen always have some hands and feet that can't let go.

So when a big man like Wu Jianye appears as a teacher, it still makes them seem more nervous, and at the same time they want to show their maturity or professional ability in front of Wu Jianye, but they don't know that the more they are like this, the more mistakes will appear on their bodies.

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

To be young is to be a youth that needs to be flamboyant and youthful.

Wu Jianye first said hello to Professor Lin Hongtong, the head teacher of the 88-level performance department, and then sat at the back of the classroom like ordinary students.

Wu Jianye could clearly feel how the students' eyes slowly turned along their steps when they walked through the corridor of the classroom, until they sat at the back of the classroom, and everyone's eyes would still look at him from time to time.

The longing in his eyes was palpable.

Seeing this, Professor Lin Hongtong shook his head with a smile, the acting skills of the film that were originally taught in this class, but now looking at the situation of the students in the classroom, it is obvious that they have long been unable to listen to it because of Wu Jianye's presence.

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

Wu Jianye just sat down, and he originally came to pick the actors by himself, but he didn't expect Professor Lin Hongtong to let him give a lecture.

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

Professor Lin Hongtong smiled: "There's nothing wrong with it, it's not like you haven't given lectures to the students of the acting department before, and I think the students here must also want to hear your opinions." ”

"Yes!"

There was a deafening shout in the classroom.

"Ahem, then I'll get an axe at the door of the class!" Wu Jianye stood up helplessly and walked back to the podium again, and then the students in the audience immediately sat upright one by one, as if they were going to accept peerless martial arts.

"First of all, congratulations to everyone who can be admitted to Yenching Film Academy, as the students with the highest level of performance in China, everyone can be admitted here, which already shows that they are more suitable for this industry than the vast majority of people. ”

Wu Jianye said with a smile, hearing Wu Jianye praise Yenching Film Academy as the best film school in China, whether it was the students or Professor Lin, they were very happy.

"Coming here, it is destined that most of you will have to make a living as an actor in the future, first of all, my hope for everyone is that in the future, you can be proud of being an actor, rather than simply pursuing to be a star!"

Jiang Wenli in the audience shouted: "Director Wu, aren't actors celebrities?"

Wu Jianye shook his head with a smile, to be honest, there is indeed no such obvious gap in this era, I don't want even one person in the future to not even have a representative work, as long as he twists a few times on the stage, he can play basketball, and he can earn a lot of money, and there are very few people who can calm down and be an actor quietly in that era.

"There is still a gap between actors and stars, actors' minds are more on the presentation of their own film and television works, and celebrities?

Walking has now become the best way for domestic actors and singers to earn extra money, just like celebrity endorsements and various activities in later generations, variety shows are the same.

It was still Jiang Wenli who was answering Wu Jianye's meaning: "I know, I heard that you can make a lot of money by going to the cave now!"

Wu Jianye smiled: "That's what it means, it's true that going to the acupuncture point can make everyone earn more money, but there is less time left for studying acting skills and experiencing life, time is fair, everyone has so much time every day, if you choose this industry just to simply change your life, then I don't object to everyone going to the acupoint, but if you want to have more breakthroughs on the road of actors, then going to the acupoint will greatly hinder everyone's future development." ”

When everyone in the audience heard Wu Jianye say this, some people fell into deep thought, the income of the actor industry at this time is not a real high-income group in China, but it must be higher than that of ordinary working people, but people's greed is not satisfied, especially when they see their friends, some people just go to a hole, and they are worthy of the salary of a TV series, it is impossible to say that they are not tempted.

But as Wu Jianye said, people have to learn to make trade-offs.

Wu Jianye saw that everyone didn't speak, and he didn't continue to delve into this topic, he is not a person who likes to change other people's minds too much, and if he has his own meaning, it's okay, as for the future road, it still depends on them to walk on their own.

Then Wu Jianye told everyone about his understanding of acting.

"Some people divide performance into three categories, namely experiential, methodical, and expressive!"

"The requirement of experiential party performance is to start from oneself and live in the situation of the character. ”

Hearing this, Professor Lin Hongtong's brows furrowed slightly, because he believed that the experiential school should start from the self....... But now it's Wu Jianye who is lecturing, and he didn't say much, but he still wants to discuss it with Wu Jianye after class.

"In fact, the biggest misunderstanding of experiential school in our country is now, such as what I just said about starting from the self. After Wu Jianye finished speaking, Professor Lin nodded, he really thought so.

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

Wu Jianye accentuated his tone and continued: "Please note that only the 'self' can complete the true experience, that is, 'really hear, really see, really feel'.

If you're already imitating an imaginary image, or putting yourself in a performance that's different from your normal life, you're not going to be able to get the real experience done.

Therefore, it must be emphasized that 'starting from the self' is the basis of the whole process of creating a character in the performance of the experiential school, not one of the stages, that is to say, the experiential school requires the actor to 'always start from the self' in the whole performance process.

So is there a contradiction between 'starting from the self' and 'becoming a character'?

I don't think it's a contradiction because you have to live in the situation of the character.

For example, if a young man plays an old man, instead of imitating the old man, he uses the experiential method to make himself believe that the situation of the old man has happened to him, such as believing that he has bad joints, cannot see clearly with glasses, and cannot hear clearly with his ears...... It's still me, it's just that the situation has changed. This example is given to make it easier for everyone to understand, in fact, young people playing old people can only be used as teaching exercises, and in real creation, the experiential school advocates that actors should be as close to the role as possible.

Therefore, the experiential doctrine of 'starting from the self to become a role' does not mean 'starting from the self and then becoming a role', but 'starting from the self to become a role', and 'starting from the self' is the basis of 'becoming a role', and the two cannot be understood as two separate processes.

Isn't 'starting from the self' just a performance?

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

For example, the experience of sending a straight man to play the same XING love, he can't disguise himself as someone else to imitate, but can only take out even a little bit of his good feeling for men in his heart to the role, and really use his gay side to show people.

Secondly, it requires believing in the situation, such as believing a fake gun as a real death threat, and requiring a subconscious reaction in the situation, rather than a well-designed performance, which is much more difficult than design.

In the end, a lot of homework has to be done 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 staggering.

So does 'starting from the self' mean that an actor can only create a character with one personality?

No.

Because the human character is multifaceted and is a large collection, and the character of the playwright cannot be as rich in character as a living person, it is a small collection.

A large set can trap many different small sets, and an actor can perform in his true colors for a lifetime, and he has played many different roles.

Therefore, the process of giving birth to characters from the self is subtraction—removing the parts of the large set of self that do not conform to the small set of roles, and trying to make the two sets coincide, that is, the self and the role;

Instead of doing additions, go and add something that doesn't belong to you.

For example, people in life may be the same in front of their colleagues and their families, but they do not add personalities that do not belong to them or imitate anyone, but only hide part of their personality in different situations.

So what if the large set of the self doesn't contain a small set of characters?

The first is to expand the self-collection, that is, to dig out one's own hidden character and liberate one's unliberated nature, and the other is to not play that role if the self is too far away from the role.

Stanley said that the director first needs to get to know his actors well, so that he can avoid the situation of choosing a piece of tofu to make a steak when assigning roles - to make a steak, you need to choose the right part of the beef, and using tofu to make a steak may be a showman, but it is not really a delicacy.

In general, experientialism is the most difficult of the three schools, and it also requires the most talent: the gift of emancipating oneself, the gift of believing in the situation. There are only one actor who can have the talent to meet the requirements of the experiential school, so there are many people who can't go on are unwilling to admit that they are not talented enough, and turn to tamper with or oppose the experiential school.

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

Wu Jianye asked himself and explained his experience of the experiential school, as he said, a large part of the understanding of the experiential school in China is wrong, this is just his own understanding, he is speaking now, especially in his current position, saying such things.

It will inevitably cause a great impact, and it will also become the focus of discussion in various colleges and universities for a period of time in the future, and even bring some trouble to Wu Jianye.

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

After listening to Professor Lin Hongtong, he also fell into deep thought, he still has no way to distinguish whether what Wu Jianye said is right or not, but he is sure of one thing, after today, Wu Jianye is bound to cause a lot of discussion because of today's remarks.

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 the communication partner, while the experience school does not allow it.

For example, a straight man plays a relationship with XING and makes him fall in love with a man.

The method school allows the straight male actor to imagine the opponent substitution as a woman, while the experience school does not allow it.

Experientialism demands that you must find the part of your love in this same-sex person.

The reason for this difference is that Methodism changed and developed after the experiential school was introduced to the United States, and in the United States, cinema gradually became the biggest stage for performance.

In the filming of the movie, the actor can not always have a real communication partner, and the most realistic performance only needs one is enough, and there is no need to repeat it repeatedly. Therefore, in film shooting, it is sometimes necessary and harmless for actors to replace the communication partner. This is different from the requirements of a stage play. ”

As for Expressionism, "Expressionism" does not emphasize starting from the self, but emphasizes the construction of a "character image" in the heart, emphasizing imitation.

At the same time, expressionism does not advocate subconscious living in situations, but emphasizes "jumping out" to grasp and design.

Some people say that the experiential school is Stanley, and the expressionist is Brecht.

The first half of the sentence is correct, and the second half of the sentence is not.

Brecht's "distancing" is a kind of performance effect, which is achieved more through the means of screenwriting and directing than by a means of performance.

In his own acting practice, Brecht wanted the audience to be disconnected, but still demanded that the actors be experiential.

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

As for some people who say that experientialism is from the inside out, and expressionism is from the outside in...... Also wrong.

The experiential school requires the "subconscious" to be completed organically both inside and outside, and the actor's attention should neither be on his own external actions nor his own heart when performing, just as most of the time in life, people's attention is not on themselves, but in the opponent and environment, neither the inner feelings nor the external behavior are deliberately generated, and the performance should be like this.

Stanley's late "body-psychomotor method" is actually a method used by directors to lead actors to improvise in order to help them reach their subconscious, not 'Stanley's later years changed from the inside to the outside in' as the name suggests. ”

Speaking of this, Wu Jianye said with a smile: "Sometimes I really admire the ability of some people in China as the name suggests, as well as their courage to boldly imagine and "innovate" other people's existing theories. ”

With Wu Jianye's explanation, the students in the classroom have gradually forgotten Wu Jianye's identity as the most powerful director in China, and regard him more as their own teacher.

"So 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......."