The peak acting skills of the actor

Chapter 368

Cheng Feng did not continue to increase his efforts, but planned to replace quality with quantity. There were still a few months before the shooting time. He first tried the method of self-hypnosis for a week.

A week later, in the early morning, with a belated sound, Cheng Feng opened the curtains and brightened the originally dark hotel suite.

Immediately afterwards, he put on his tights and went to the hotel fitness center to exercise. First, he did a warm-up, and then he started aerobic exercise.

Two hours later, after working out, I returned to the hotel suite, took a shower, and changed into loose and casual clothes.

After lighting a cigarette, sitting on the sofa, and taking a deep breath, Cheng Feng frowned, feeling a little helpless.

Shaking his head secretly, he murmured: "It seems that this is the only way to go."

The reason for Cheng Feng's behavior is that he decided to use the system's assistance to complete the role of the clown.

It can be said without hesitation that with his current ability, coupled with the psychological hints that lasted for a week, a certain side of his personality is constantly enlarged and filled, and the shaping of the clown has been formed in his mind.

In a word, it means that Cheng Feng can play the role of the clown with his own ability.

But during this week, Cheng Feng has already felt the psychological pressure on this role, and the shadowy face has more and more influence on his personality. This is because he has not devoted himself wholeheartedly.

If he puts all his heart and soul into it, Cheng Feng can be sure that he is fully capable of playing an incarnation of chaos in the world, but also, the psychological shadow left by this role will continue to accompany him for a long time after the performance. A very troublesome influence in his life and work.

Acting is actually like diving. It’s not just about diving deeper and deeper. When dealing with certain characters, it’s also important to stop in moderation.

It is irresponsible for oneself to blindly go one's own way. People often say that entering the drama, but entering the drama too deep is like diving. If you are not careful, you will not be able to swim out of the deep water.

Theatrical performance originated from the sacrifice in the primitive behavior of human civilization.

In Cheng Feng's view, the first actor in history was the priest of the tribe.

The first drama was worshiping the gods, and the wizards who were in charge of offering sacrifices at that time, on the altar, what they wanted was the unity of man and nature that they achieved when they worshiped heaven.

But in Cheng Feng's view, this is a problem that belongs to the spiritual category. First of all, they convey the so-called induction between heaven and man through a highly concentrated state of semi-hypnosis.

This is why, today, through the interpretation of actors, human beings can feel the resonance at the spiritual level and achieve emotional resonance when the actors perform.

That's because actors, like those priests, must concentrate their spirits to a certain extent, so that through their own interpretation, they can use emotions to establish a connection with the spiritual world with the audience.

It is also inevitable that the role played by each actor will more or less affect his own spiritual world.

The term for this phenomenon is "post-drama stress disorder," a term coined to describe the sort of difficult, long-lasting effects actors occasionally experience when they're engrossed in a character.

This is also the occupational disease of the actor's profession. Playing a role for a long time, actors often perpetuate the addictive, dependent, and destructive habits of the characters they play.

There are not a few actors who suffer from emotional mental illness because they are too involved in the role.

After all, everyone has a hidden psychological disease in their hearts, but the difference lies in whether it happens to be stimulated by related events.

From this point of view, actors who always play roles such as depressed patients, drug addicts, murderers, prostitutes, etc. who are suffering from inner pain or depression are especially prone to psychological problems.

Because after they enter the role, a sensitive trait hidden in their hearts is just stimulated by the role they play, so they will suffer from psychological and spiritual levels.

Many well-developed actors suddenly disappeared in the entertainment industry. In fact, the more reason is not that their careers are failing, but that they can no longer support their spirits, so they either go behind the scenes or change careers.

Because of a role, too deep into the play, unable to get out, so that there are many actors who lead to tragedy in life.

What's more, Cheng Feng's role this time is a clown.

A character with too many negative emotions is a dangerous and extreme character. Art and ideals are mixed with too many illusory elements, while life is real.

Only by knowing how to switch between illusion and reality, only by knowing how to play a good role in the play, but in reality is another role, can we better accept the beauty and ugliness of reality, the light and darkness, and will not make the ship of life hit the rocks sunk.

Cheng Feng thought about this, and couldn't help but said lightly: "I don't have enough effort, it seems that I haven't reached the stage where I don't care about the drama."

In Cheng Feng's view, there are four realms of actors.

Playing, acting, entering the heart, entering the play without entering the heart.

What is a play?

Performances of this realm can’t even talk about the word "acting" for the time being. Many people use their vase-like appearance or various nepotism to get on the screen.

Not to mention the clumsy display of acting skills, although most of the audience can always receive spit and compliments, but the survival rule of this type of actors is: give the money and act, and leave when you get the money!

What I always do is one-off transactions, and I don't care whether the works are good or bad. They are just passing by in the audience's field of vision.

acting!

This kind of actors can already be regarded as conscientious actors, most of whom come from majors, but due to the lack of accumulation of life experience, most of the characters in the play are stereotyped and repetitive, so no matter how hard you work, it is still a performance, and it is difficult for the audience to get pregnant The feeling of being there.

heart!

Undoubtedly, this kind of actor is a first-class actor, but not the best!
Because although their acting skills are superb, they are too deeply involved in the play, bringing the characters in the play into their real life, completely possessed by the characters physically and mentally, and inevitably fall into the entanglement of losing themselves.

For example, the actress who participated in Lin Daiyu in the 87 version of "A Dream of Red Mansions", her interpretation of Lin Daiyu is a classic, and it is difficult for later actors to surpass.

However, because he was too involved in the play, his real life was completely immersed in the depressed atmosphere of the characters in the play, and he was emotionally depressed for a long time, and finally died at a young age.

Don't get into the drama!
Such actors are the real master actors!
Create countless classic characters, but will not be restricted by any fixed framework, because they know that this is just a job they love.

But what he plays is what he is. It seems that the role is him, and he is the role. While the audience feels the joys and sorrows of the characters in the play, they are truly impressed by their superb acting skills.

However, life outside of work is another enviable world, where one can quickly return to himself and enjoy his own open-minded life.

It stands to reason that Cheng Feng is actually not paying attention to the drama, but this is the effect achieved with the assistance of the system.

He himself should be in the state of entering the heart.

Cheng Feng thought of this, and in the future, while continuously absorbing the nutrients given by the system's characters, it seems that he has to develop in the direction of being in the play without paying attention, and reach the best state as soon as possible.

(End of this chapter)