According to Wu Yuanshen, in fact, he used the techniques of the Xiàn faction.

What is the Epixiàn faction?

The Xiàn school is the pursuit of actors to "act" in the play. When performing, it can even give the audience a feeling of "I am acting".

This is the opposite of the experiential "I am the character", but the result is different.

This is definitely not a low-grade performance, let alone a statement that looks down on the Biaoxiàn faction.

Take this scene as an example, Wu Yuanshen analyzed the role for Zhou Yi and talked about his own understanding.

The role he plays is ostensibly bright and upright, a righteous county government horse catcher, but in fact, his secret identity is the third scorpion of the Five Poison Sect, insidious and cunning, secretly controlling the eldest and the second, killing the fifth, and harming the fourth.

Such a character is like a two-faced person, a typical example of the inconsistency between the outside and the inside.

When Wu Yuanshen is performing, he wants to perform this kind of "inconsistency between the outside and the inside".

Because this role itself is usually performed in the play, it is the third scorpion who is playing the horse catcher.

And Wu Yuanshen also has to perform the effect of "the third scorpion plays the horse and catches the head".

If you use the experience school to perform, it's not impossible, but Wu Yuanshen feels that the effect will be weaker and can't play that kind of "performance" effect well, so he uses the way of the Xiàn school to give people a feeling of "he is performing", and the effect is very good.

As soon as the audience saw that this person had a honey-bellied sword and a heart like a snake and scorpion, he was acting!

If it were reality, of course, such a person would not be visible.

But this is the movie, and of course your performance has to give the audience a hint.

Of course, this kind of hint cannot be obvious, but leave a clue.

It's great to have this effect.

After watching it, the audience will suddenly realize, it turns out that this is the case, not what is this playing? The actors' performances are inconsistent! The role change is too abrupt, the director is fooling around! You don't give hints, and you only come to such a hand in the end, isn't this a deliberate pit?

This is like in "Soul Raiders", if there were not so many detailed hints about the "old man in jigsaw" in the front, what would be the effect of the old man in jigsaw getting up from a pool of blood on the ground in the end? I'm afraid that not only will there be no surprise, but the audience will scold the mother.

Specific to this play, when Wu Yuanshen performs, he naturally has to pay attention to all aspects of the details.

These are the basic skills of the Xàn sect.

To perform the best effect, the actor's acting skills are very needed, and it is not enough to play more or less.

This kind of performance is the expression xiàn school, when the actor creates the character, he pays more attention to the appearance of the character's external body, language, demeanor, etc. In the process of performing, the heart is separated from the character, and it is necessary to find a feeling that the heart is above the role.

Wu Yuanshen's performance has always been like this before, even when wearing a scorpion mask, he can use his body and language to convey the characteristics of the character to the audience. This is a very powerful acting ability, and it should not be underestimated.

This is the "distancing effect" of the Xàn school.

Takamatsu also admitted this next to him, and Wu Yuanshen's acting skills are indeed excellent.

He deserves to be the highest-paid actor in the crew, and he is indeed worth the price.

If it is replaced by Zhou Yi, with his current level of acting skills, he will definitely not be able to perform this effect.

For example, let him wear a mask to act, can he still perform the characteristics of a little junior brother? Can others still tell that he is a junior brother?

This is also where Wu Yuanshen reminded Zhou Yi.

Zhou Yi currently does not have such profound acting skills.

Of course, this drama doesn't need Zhou Yi to have such profound acting skills, as long as he plays the fledgling youth.

Then play beautifully, it's enough.

But this drama doesn't need it, won't it be needed in the future? It's always going to be needed!

Tom Cruise can play Tom Cruise for a lifetime, but Zhou Yi can't play Zhou Yi for a lifetime!

This is like Jet Li can't play Huang Feihong for the rest of his life, and Donnie Yen can't only play Ip Man for the rest of his life.

With these points of guidance from his predecessors, Zhou Yi really opened his mouth and benefited a lot.

Thinking back to the previous scene, Zhou Yi had a deeper understanding. Before, he just thought that the two leading actors were acting too well, but what was good, his ideas were a little vague, and then he knew exactly where the other party performed well.

In the previous scene, Wu Yuanshen did perform this kind of distancing effect of the actor controlling the role.

He is different from Takamatsu, one is an actor who controls the role, and the other is an actor who enters the role.

There is no one who is higher or who is lower in the two, but the way of performance is different.

The previous peak rivalry between the two was also a big collision of acting skills between the experiential school and the table xiàn school, and this literary drama competition did collide with classic sparks. At present, it seems that the strength of the two is equal and equal, but they have achieved the best effect of this literary drama.

The acting skills of both sides are indispensable.

If one side is a little weaker, the drama will be unbalanced.

However, the two leading actors did control it, and they both acted very well, complementing each other and complementing each other, and together they created a classic literary drama.

Zhou Yi listened to the explanations of the two, nodded again and again, he really benefited a lot, and planned to try more in the future.

According to them, any actor, generally every genre of performance has to try, and it will not be limited to one or the other. See which one works in the specific performance, and use which. It's not what kind of person is used, it's what kind of person it is, I don't say that.

What kind of performance genre does a real acting master need to use, it is easy and natural.

If you can do that, you will be a quasi-actor.

Moreover, Gao Song and Wu Yuanshen also gave Zhou Yi some good Jianyì.

Zhou Yi has not gone to school in Yanying yet, has not taken formal acting classes, has almost zero acting experience, and is completely relying on talent to act, which is no problem at present, just like those stars who act in idol dramas, they will be fine in the short term, but in the long run, something will happen in the future.

What to do when you're old? What should I do if my appearance is not so high?

What if you can't get it when you need acting?

Zhou Yi can fully understand this.

is like the actor Master Luo who played the toad in this film in his previous life, how beautiful he was when he was young!

When he gets old, you can't watch it again, you can only play a small supporting role.

Another example is Lu Huiguang, who used to play with Jackie Chan, if you look at what he looks like when he is old, he is speechless.

It's scary to think about that situation.

There are also many examples of this kind in this life, where actors grow and become disabled, which is a common thing in the entertainment industry.

If you don't have plastic surgery, the actor can't guarantee his appearance at all.

They haven't been transformed by any special energy.

Takamatsu also gave a few examples with a smile. Those examples are estimated to be useless for plastic surgery.

Of course, Zhou Yi himself had been transformed by high-dimensional energy, so he was not worried about this aspect. However, what the two leading brothers said makes sense, and their acting skills must be improved. has been an idol all his life and acted in idol dramas, which is a table without ambition and a table of self-depravity. Especially in the entertainment industry, the generation is changing very quickly, and there are small fresh meats every year, each leading the way for two or three years.

If these people don't pay attention to improving their acting skills, sooner or later they will be replaced by younger, more beautiful, and more handsome juniors.

This is the back wave of the Yangtze River pushing the front wave, and the front wave dies on the beach. It is actually a cruel thing for a new generation to replace the old.

Zhou Yi is his own boss, coupled with his own strength, he naturally has no worries about this.

But it is also imperative to improve acting skills, otherwise some good roles will not be able to be performed at all.

What's more, if he wants to play James Shibang in the future, he really doesn't need acting skills? Stop dreaming.

From Sean Connery to Daniel Craig in his previous life, who didn't have acting skills?

Even Tom Cruise, who played "Mission Impossible", was considered an acting school in the later stage.

So how to improve your acting skills?

According to Gao Song, in the long run, of course, you have to go to a higher education institution such as Yanying Chinese Opera for formal study, and at the worst, you must often go to acting training classes, which is a long-term career plan.

But if you want to improve in the near future, in the short term, you can try the method performance.

Like the experiential school and the table xiàn school, both are a kind of name for the performance genre.

The ultimate goal is to create real characters on stage.

Methodism is a continuation and supplement of experientialism, and its core idea is still the core of experientialism.

At the end of the day, methodism is a way to train actors.

Even if you don't have formal training, you can try.

Wu Yuanshen also agrees with Takamatsu's Jianyì.

The methodology believes that the important thing is that the actor really thinks on stage, and that emotions erupt through guò triggering their own experiences, rather than trying to align their thoughts with the characters. This is different from experientialism.

Gao Song also took the previous scene as an example and explained it to Zhou Yi in detail.

For example, if you come to play He Yuanxin, that scene wants to shoot you in a state full of grief and anger, deep and depressed, and ask you to lift the table and smash the vase, but you can't enter that state for a long time, you can't go deep into the character's heart, and you can't have psychological resonance with this character, what should I do?

The experiential pie is not good, you can try the method pie.

When you are filming, you can call on your own emotional experience, associate some unjust, false and wrongful cases in real life, some grief and indignation, and even associate some of your own experiences, and then bring this kind of emotion that erupts from your true heart back to the character.

In this way, you can express the kind of grief and indignation of the character.

On the surface, you are angry because of the unjust and tragic death of your fifth junior brother, but in fact, you may be angry because you have eaten Qingdao's sky-high price of prawns.

For another example, if you play a crying scene, on the surface, you cry because you are sad, but in fact, you may have knocked yourself on a stick and cried.

That's methodism. Seek only the result, not the reason.

What the audience sees is the result, and they will associate it, but it doesn't matter how you do it.

Gao Song said very interestingly, Wu Yuanshen wanted to laugh, and almost couldn't hold back, it is estimated that Gao Song was pitted by the sky-high price of prawns.

But Zhou Yi didn't laugh.

At this time, he was thoughtful, his previous experience was extremely complicated, and there were indeed many associations that could be invoked.

It's a good idea.

According to Takamatsu's explanation, you don't need to directly let yourself into the character to figure out the mood of the character, you can completely invoke your own inner emotional expression through guò and bring it back to the character, not limited to the mechanical interpretation of the role.

From one's own emotions, one can naturally lead to a series of extremely creative expressions, which is the power of methodology. Anyway, what the audience wants to see is the result of your performance, and as for what you are thinking, the audience doesn't know and doesn't care.

Wu Yuanshen nodded in agreement, feeling that Zhou Yi could be used as a reference.

Zhou Yi felt that it was a great gain.

At noon, he chatted with the two leading actors at the dinner table for a while, and he felt that "listening to your words is better than reading a book for ten years".