Then sometimes in the scene, often appear, after the actor read the script, said to bribe the informant, then he followed the bribery plot to play. However, he dropped his truest purpose of the second plan.
There is also the case where the second plan is all played out. I'm ostensibly bribing you, and then I'm putting on a show myself, trying to show people how thoughtful you are, how much you want to pry into his secrets, and how much you want to get such a result.
Both of these ways of performing are imperfect because there is a correlation between our first plan and our second plan.
What correlation? You see, after a screenwriter writes a text, he gives us the story line, the plot line, and all the motions of the main character in our plot line, which is actually given as the first plan.
So what is the actor supposed to do? The actor should look through the surface and find the inner essence of what the purpose is. This is what builds the second plan.
The relationship between Plan One and Plan Two must be one of mutual constraint. If you just play the first plan, it's like what I just said, say I'm just going to bribe people, and the play will seem dry and not interesting at all.
Then there's another scenario, if it says I'm only going to play the second plan, also like I just said, in which case you're exposing all of yours, are you treating the other person like a fool, or are you trying to treat the audience like a fool? You're so blatantly trying to spy on the information, then the person on the other side can only do the dry acting, saying I don't know, I don't know. In that case, the play is awkward.
In fact, there is no way to be accurate in your performance when you are in the scene. You can only organize an effective act if you find a second plan. This behavior may be attached to your language, and you know how you're going to say it, and then in the way you act, you know how you're going to do it.
When it comes to the first plan and the second plan, there are times when it's actually, often for the actor, such a complicated one that you've thrown out to me today, so how do I find it? Where is the second plan? In fact, the way to find the second plan must be to find the character's verbs from the text, that is to say, what floats on the surface is called lines, and what is underneath the lines is called subtext, and this subtext is linked to our action. So, since it's tied to the action, you have to find the right verb.
Finding the right verb
If you can't find the right verb, then your whole chain has no motivation, no rationality. In that case, you won't be able to finish creating the character at all.
There are times when you can't read the script yourself, and you might say that it's because the writers didn't get it, but that's not true. Today, I'm going to take an example from one of the classics that we all think of as a household name, and that's an excerpt from "Thunderstorm".
The very first scene is very interesting. We often say that "Thunderstorm" is a classic play in that the first act has thrown out all the suspense, and all the characters are in a what kind of situation, what kind of future to solve a thing, all written clearly, clearly.
The first act has only two characters, one called Lu Gui, one called Sifeng, they are a group of father-daughter relationship. They are a set of father-daughter relationship. What kind of identity is this Lu Gui? Lu Gui is actually a butler, and this butler has a lot of vices of his own, and he himself is not very hardworking, and he's also rather smooth-talking. Where does he get all his money from? Who does he depend on at times? And he also has a bad habit of gambling.
He gambles so much that the portion of money he earns on his own just isn't enough. So he was only able to ask for this money from another person. And who is this person who wants the money? The target is Four Phoenix, his daughter, who also works with him as a servant girl in the Zhou Palace, that is, the character of Four Phoenix. In fact, Sifeng hates her father, what does she hate about him? What she hates about him is that he keeps asking her for money. So for Four Phoenix, the only action she wants to do when facing her father is to avoid him and ignore him.
But today, Lu Gui has to solve one thing, which is to get the money from this pocket of Four Phoenix. Because he is going to pay back the gambling debt, so this matter is even more difficult, he must do. Well, when he did this thing, he used a few methods, that is, to take the four people, and finally the four phoenix to blackmail.
I have seen many versions of "Thunderstorm", Lu Gui said the ghost of this scene, many people think it is a very classic scene, there are times when the actors tend to make this energy over.
Some actors when there is no way to find the right second plan, it becomes true to say the ghost, said the self are invested in it. I saw this, how am I, and then step by step to advance, acting especially hard, because he put all the energy to float on the surface of this script, according to the script to give all the story, narrated, and even sometimes will be full of passion to say to the four phoenix.
In fact, this often leaves the audience uncertain, thinking that Lu Gui is there to tell a ghost story to Four Phoenix. In fact, this is not the case, the real purpose of his ghost story is to put the four phoenix in the bag, from now on, the four phoenix will always be his ATM, he has to take money from her. Has this purpose been achieved? In fact, it has been achieved.
Well, let's take a look at Mr. Cao Yu's text, and we'll start with the part where Lu Gui talks about ghosts. At the very beginning, he is because the four phoenix avoid him, avoid him, do not want to pay attention to him, what should he do? He must start with the thing that she is most afraid of, because she is more or less misbehaving with the young master of the Zhou family. Especially in those times, when you think about it this kind of thing could not be talked about. The status and position were different, and you did such a sneaky thing. So, in Four Phoenix's mind, this matter was very important. Lu Gui is particularly good at lining up his troops, and he comes in layers to blackmail Four Phoenix.
Let's take a look at what kind of a tactic he used.
In the first paragraph, he starts talking to Four Phoenix, saying:
"Do you know why no one comes to this house at night? When Master was in the mine, was there no one even during the day?"
"Wasn't it haunted in the middle of the night?"
"Do you know what this ghost looks like?"
"I only heard that once upon a time this house often heard the sound of sighing, sometimes crying, sometimes laughing, and I heard that this house has died, and that the ghost of the Quixotic death."
"Not at all; but I saw it secretly. "
He whetted Four Phoenix's appetite with the words "I secretly saw". So he began to tell the story.
In this story, he mentions the Great Young Master. In the process of telling this ghost story, the most important thing is that the hook of action in his own heart is to hook who? It is to hook the four phoenixes. Often this big section, when we divide it down, first I draw you in. You have to attract him first, to notice this thing that you have to say.
This is his second plan. It's not that I'm really just going to tell you such a ghost story, but I'm going to attract you first.
Okay, then I might draw a verb, I know this passage, to draw him in.
Then my concern in organizing all my own behavior must be the opponent. If I don't draw you in, then it's the same as saying this passage I'm not established. I draw you in and open up that which you fear most in your heart, then in this way all the attention of the four phoenixes is focused.
Moreover, in telling this ghost story, he points out that the eldest young master has an adulterous relationship with the wife of our family. Think about it, how big was the impact on Four Phoenix? So she was too eager to hear this story further. Well, the first step he used was to take the first young master, poking holes in the adulterous affair between the wife and the first young master, and at the same time warning Fourth Phoenix about what a dangerous situation she is now in.
Immediately after, this is not all, he immediately took a four phoenix most afraid of people to say things? Who is it? She's a very good woman, and she's a very good woman, and she's a very good woman. The first time, Lu Shiping was firmly opposed to Lu Gui's idea of bringing Four Phoenix to work as a maid in the public house. There is a story here, because she was once a maid, and did the same dishonorable things in this house as her daughter. She had a relationship with the head of the Zhou public house, Zhou Puyuan.
At the same time, there are some later sinful children. This later is little by little to reveal it. So, what Four Phoenix is most afraid of is her mother. So in the second paragraph step by step, I use your mom to say something.
"Not only that, I have another thing to tell you."
"What's that thing?"
"Don't go away, I'm not done with this, I'm just getting to the point."
"I'm sorry your old man, I don't want to hear any more."
"You have to listen."
"Let go of me, I'll shout."
"I'll tell you one thing, if you make a scene, turn around and your mom is going to be here."
"What?"
"Your mom will be here at the public house as soon as she gets off the train."
"Mom doesn't want me to help out in the public house, so why did you tell her to come here to me? I come home every night, I come home to her, naturally, so what did you tell her to come here for?"
Well, if in the first paragraph he was appealing to her and warning her at the same time, then in taking about her mother he suddenly throws out another message, which is to say that I didn't ask your mother to come here, but the wife asked her to come here. So what's his real verb? It's that you need to be careful, you're in danger, that's one of the purposes of his potential second sentence, and that's where we're going to draw a verb that's scaring.
After that four phoenix heard all that, her whole being became more involved in a moment of impending crisis like that, and she didn't know what to do with herself at all. He must have pushed her to the point where he said you don't know what to do anymore, then you will slowly lean on me.
And what was the third method he used? It's to say I don't have a very good relationship with your mom either, let's look at the lines. He said:
"Look, son, you realize now that dad is good, right? Dad loves you. Don't be afraid, she wouldn't dare to do that, she wouldn't dare to quit you."
Then this latter part is pulling in Four Phoenix. If we were to perform, this paragraph you should characterize it as, start pulling in.
This way I'm very clear, I know what kind of behavior I'm going to use from her language, from her body. It may be that at this point, two people from a great distance, because I'm pulling in, I may be going to hitch a ride on my own daughter, and it's possible that you're going to have that kind of body language coming up. By the time he got here, he had completely bagged the four phoenixes.
He used three tricks, using the young master to say things, using the wife to say things, the wife and the mother are the same thing, and then saying I'm the safest person for you to pull you in.
He used such a way and method to hold the four phoenixes firmly in his hands. So, it is not that Lu Gui is going to say ghosts, and saying ghosts is just an introduction, the important and core purpose is that you have to listen to me from now on, and at the same time you have to give money to me.
This is a classic script in which an actor must be clear about the three verbs of action:
Attract, frighten, and draw in.
Only by mastering these will you be able to flesh out the scene. At the same time, you will also be able to let the audience know that Four Phoenix has been turned by you into a very obedient, no longer the person who just opened the scene to make a temper with you, reject you and avoid you. Her behavior of rejecting you will no longer hold true, and she will be firmly in your grasp. It's a scene that's called a complete paragraph.
So, if that means you don't have a grip on this second plan, there's no way you can go about organizing effective stage action. That stage action, that is to say, when your own motivation is not clear enough, when your purpose is not clear enough, there is no way for you to act.
If you play a confused play, you will not let the audience enjoy it, and at the same time, after you play yourself, you still don't know what you're doing, which is a big no-no for actors.
So, if an actor wants to find a good second plan, he should practice the premise of delineating paragraphs, and give each paragraph its clear verb. When strung together in this way, the stage action will be clear, and your motives will be accurate.
This is about finding the actor's task from the task given by the writer.
Of course, the truest idea of what you, the character, are trying to say in the middle of this scene will be clearly presented to the audience, and it will whet the audience's appetite, because the audience will want to know what else is going to happen later.