Zhao Wenbin sat up from the bed suddenly, because his family's economic conditions were very good, and his parents were not used to living in the school dormitory at the moment, so they simply bought him a three-bedroom and two-living room apartment nearby. Since entering the Kyoto Film Academy, he has basically never slept in his dormitory. Looking at the exquisitely decorated large bedroom, he sat silently on the bed for a long time.

This is Zhao Wenbin's home in "Tomorrow's Star", but the young body sitting on the bed has already lived in Peng Yichen's soul.

Peng Yichen originally thought that he had crossed over once, but he didn't expect that the moment he got the script from the assistant director Xu Dayong, his eyes were dark, and he actually crossed again. In less than a month, the feeling of crossing twice in a row made Peng Yichen feel a little dizzy that was difficult to adapt to, just like the weightlessness in a fast-falling elevator, which made him uncomfortable for a while.

After a while, he realized that now he had crossed into the TV series "Rising Star" and became the "No. 1 villain" Zhao Wenbin. Although there is no system or a main god or anything, from the moment he wakes up in the world of "Rising Star", he seems to naturally understand the rules of this plot world.

First of all, I don't know if it's because he crossed over from Earth, and now he has gained the superpower to travel into the world of the plot. As long as he is identified as a performing actor for a certain role in a film and television drama, the moment he gets the script of the film and television drama, whether he wants it or not, he will travel through and possess the character he is about to play, and he will not return to Blue Star until the plot of the entire TV series is over.

Secondly, although there is no system or main god to issue a mission to him, he is completely free to move in the story world, but at the end of the story world, he must achieve 100% integration with his possessed character in order to obtain one of the highest skills of his possessed character.

And if he wants to integrate with the possessed characters, for example, in the world of "Rising Star", he must destroy the love between the hero and heroine, win the heart of the heroine, and defeat the male protagonist in the final drama competition, and get the opportunity for investors to shoot his own drama, so that he can choose a skill from Zhao Wenbin at random to get the inheritance. The skills obtained from this inheritance do not need to be trained, and they can be directly hit to the level of the possessed character. This is very attractive for an actor, after all, when playing many film and television drama roles, if you can master a professional skill that the role has, it will play a great role in shaping the character in the performance.

In addition, the moment he entered the world of the plot, Peng Yichen obtained all of Zhang Wenbin's memories, and at the same time, all the follow-up plots were engraved in his mind. It can be said that even if he leaves this world without acquiring any skills, this feature alone can save him the time and energy required to read a lot of scripts and memorize lines.

And this ability may not have much effect on other actors, but it is indeed very important to Peng Yichen. For Peng Yichen, who can't enter the play at all, crossing over to become the character he wants to play plays a role in improving his acting skills and better shaping a real and credible character image, which has a huge improvement and help, which is what excites and makes him the most excited.

Audiences who like film and television dramas know that for an actor, whether he can enter the play and whether he can skillfully use the method of emotional substitution to express the inner emotions of the character is how important it is for an actor. This shows the importance of these two forms of performance to the performance.

Most of the actors in the world, when they first entered the showbiz, did not have much understanding of the role and role building, they can often only hone their expressions, movements, lines and other basic performance abilities through long-term training, and gradually experience and learn to experience the character's heart, and learn to mobilize their sadness, joy, doubts, distress and other emotions to replace similar character emotions, so that they can basically complete the performance of most of the roles.

This is the kind of ordinary actor with average talent, who is willing to constantly hone his acting skills may eventually become an "old drama bone", and those who are unwilling to hone his acting skills can only rely on their appearance to eat a meal of youth. The upper and lower limits of the performance of this type of actor are not high, but the stability of the performance is relatively high, and they are the backbone of the actors.

There are some actors who have never performed any roles and have no acting experience, but suddenly their acting skills exploded in a film and television drama, making the audience feel that his performance and the role are indistinguishable and almost integrated, and he has won numerous awards in professional performance awards; This is that the actor's own experience, emotion, personality and the role played are highly compatible, and the actor only needs to play in his true colors to successfully create the plot and the characters needed by the director. This kind of actor often has a very high upper limit, but a very low lower limit, and the stability of his performance is very poor.

There are also some actors who have rich experience in understanding and shaping roles, can promote external performances through inner emotions, are very sensitive to the character's character, emotions, and thoughts, and are highly unified in shape, lines, expressions, and actions and conform to the internal action logic of the role, and can easily use various performance skills to create three-dimensional and multi-layered characters. Promote the overall development of the plot, and even drive the surrounding actors into the play to improve the overall performance level, this kind of actor is what we call a genius actor and a master of performing arts. This kind of actor can transcend the shackles of the director and the plot, and use his acting skills to improve or even improve the level of the entire film and television work.

But Peng Yichen is different from these actors, his acting skills are very good, the authenticity of the performance and the details of the performance are fine, but his performance has no aura. His talent is a strong sense of camera, and he can give him the most precise control over his performance. But because he can't use emotions to replace or enter the play, he can mobilize his emotions to participate in the performance, which causes his performance level to go further.

In layman's terms, Peng Yichen can only perform those things and scenes that he has experienced himself, if it is not a character he has personally experienced, he can only rely on his appearance to perform.

A person's experience is always limited, and Robert DeLoney drove a taxi for a month before starring in "Taxi Driver", but he can never really become a taxi driver, because he doesn't have that time and experience.

Peng Yichen's problem is that other actors only need to imitate a few habitual movements of the performance object, and then use emotions to replace or enter the play to express the inner emotions of the character, but Peng Yichen must completely imitate almost all the detailed movements, subtle expressions, and speaking habits of the performance object in order to show the inner feelings of the character.

Peng Yichen is just a mortal, he doesn't have the immortal means of "only a few days in the cave, and a thousand years in the world", and he can't complete the time and experience that this kind of experience and observation takes at all. So most of the characters can only rely on label-style movements, expressions, and tones to perform, and of course they don't feel any spirituality to outsiders.

In his previous life, Peng Yichen summed up his performance experience for more than 20 years, and divided the performance level into three realms, borrowing a saying from Zen Buddhism: the first layer is: looking at the mountain is the mountain, looking at the water is the water, the second layer is: seeing the mountain is not the mountain, looking at the water is not the water, and the third layer is: looking at the mountain is still the mountain, looking at the water is still water. (Note 1)

Although he has almost reached the peak of his external acting skills, his acting skills still only belong to the peak of the first realm, if it is not his personal real experience, he can't enter the play, and he can't mobilize real feelings to perform, which is a barrier for him to increase his performance level.

But now after inexplicably crossing the Blue Star, he actually has the ability to enter the plot world and possess the characters he plays, and he also has the opportunity to obtain a skill of the plot characters, which means that he can personally experience the character experience he performs in the future, which is simply a golden finger built for him. In the past, when I read those online novels, I felt that those golden fingers and grandfathers were very enjoyable, but I didn't expect that one day I would be able to enjoy the feeling of a big winner in life.

By the time all these things were thought through, the sun was already shining into the bedroom through the east window. Peng Yichen, or now Zhao Wenbin, didn't expect the sky to light up so soon.

He rubbed his eyes, which were a little red and swollen from not sleeping all night, got up and finished washing, picked out a dress from the closet that he felt the most important and put it on, took out a carton of milk from the refrigerator and drank it while walking towards school.

If I'm not mistaken, today seems to be the time when he, the "big villain", appeared for the first time in "Tomorrow's Star", and the content of the script seems to be that he and the male protagonist both hope that the heroine Chen Yuxin will join their troupe, Zhao Wenbin and Chen Yuxin have known each other since elementary school, and have always secretly liked Chen Yuxin, but Chen Yuxin doesn't like him. Thinking that after he left this world, he might have to perform this plot immediately, and think about a little excitement in his heart, as his first performance in this world, Peng Yichen decided to surprise everyone, comparing him to the "big villain" who came to experience life......

Note 1: Looking at the mountains is the mountains, and the water is the water; simply put, it is what the actor looks like, and the audience can find the common characteristics and images of a certain type of characters from the body, language, and expression presented by the actor on the surface, and then agree that the actor's performance conforms to the basic behavior logic of the characters in the play. To put it bluntly, the actor's performance is still in the stage of external imitation, no matter how good the external acting skills are, your performance realm is still in the initial stage. Peng Yichen's previous acting skills are basically the pinnacle of this realm.

Actors in this realm no longer simply rely on external acting skills to express their roles, but perform more by shaping the inner emotions of the characters and the unique temperament of the characters. The inner emotions of the characters are easy to understand, and if the actors are deeply involved in the play or can skillfully use the way of emotional substitution to perform, they can inject the emotions that make the audience happy in the performance. And the temperament of the actors, although they can't be seen or touched, can make the audience feel it clearly. Temperament is not telepathy or spiritual thought, there is actually a relevant theoretical basis in Freud's psychological theory. Human beings are born with the ability to observe the subtle movements, expressions, and tones of other creatures, but our superficial consciousness does not know that we have this ability, but at the subconscious level, we will quietly make subtle observations of people and things around us, and make vague judgments. At this time, in order to detect the dangers around them in advance, living beings have formed an instinct through continuous evolution. A good actor can subtly change the audience's perception of his characters by changing his micro-expressions, subtle body shapes, and even the rhythm of his speech, so that the audience mistakenly thinks that the characters he performs have a certain special temperament.

Looking at the mountains or the mountains, the water is still the water, and the performance of actors in this realm is no longer a means, but an instinct of the body. There is a saying that there is no distinction between people and dramas, and the highest level of performance is not what to act like, but no matter what role you play, you don't need to perform. To put it more concretely, an actor can perceive and identify with all human emotions from the depths of his heart, so any role he plays is actually the most real feeling, which is beyond the scope of acting, but gives life to the role. The performance that the audience sees is no longer a performance, but the actor is moved and emotional about life, life, and the world, and the appeal of such a performance to the audience is incomparable. The audience will form a strong resonance and empathy with the characters performed by the actors, and they will be brought into the plot by the actors and cannot extricate themselves. Of course, even if this kind of performance is the top actor on the planet, it can only happen a few times in a lifetime. Just like Leslie Cheung and Cheng Dieyi, Marlon Brando and the Godfather, Day Lewis and Lincoln, and finally achieved many immortal classic screen images in film history.