In all performing arts, such as drama, film and TV series, which take the actors themselves as creative materials and tools and their own "incarnations" as characters, action should be the basis. Stanislavski once clearly pointed out: "Action is needed on the stage" and "Action and activity-this is the basis of drama art and actor art".
Keywords: action performance basis
Chapter 1 Experience of Body Language
Life is like a play. A dazzling four-year drama is coming to an end. During the four years of drama in college, I learned a lot and realized a lot. I am grateful for every role I have played in the four-year drama. These roles have given me more vitality and imagination, and I have also learned a lot about life from acting.
Performance is characterized by the use of actions and language close to life to shape the image of film and television characters. The characteristics of performance are: the actor is the creator, his body and voice are the tools of creation, and the performance of the role is reflected by body movements and language means. Therefore, the actor's creative state should not only have artistic creative experience and feelings, but also have a high degree of self-control. The body language of performance includes movement and language. Performances are mainly created by actions and language, while characters are created by actions and language close to life but higher than life. The characteristics of film and television performance art are: a kind of action and language close to life to shape the role image. First of all, an actor should consider that he should not only imitate nature, but also recreate it perfectly and integrate truth, goodness and beauty in his performance. Therefore, every part of the body should be under the control of the actor, so that he can use any part of the body harmoniously and elegantly according to the established purpose at will.
Body language experience in performance;
1, action and language. Actors use action and language to reflect the role of stage action. Action depends on action and language, and language is script lines. After the actor's careful handling, the dialogue he said during the performance, the actions he made and the words he said during the performance, the audience should understand the purpose of the role's actions, so that they can understand what you are doing for. Why don't you do this instead of that? This is when the audience is attracted. They want to know what you do next and what the final outcome is. Therefore, in order to let the audience see the purposeful action, the actor must first understand the role you play and its purpose. Action is a set of rings, it is continuous. Actors must repeatedly analyze lines and action instructions in order to find some action purposes between the lines. Playwrights make necessary action explanations in scripts, many of which are action hints, but not every script has specific action hints, which are completely created by actors themselves. We call it organizational action. The actions and performances that are not specified in the performance process are all created by the actors themselves, and they should really listen and feel, so that everyone can feel that the play is not fake. Therefore, an actor must analyze every sentence in the language and what the real meaning of a word is. Only by analyzing the accurate subtext and organizing the specific inner monologue can we express it well.
2. The figure and voice of the actor. The actor's body and voice are the tools we create. Every performance is a creation. In order to keep the accuracy and vividness of the works, we must experience, feel and be enthusiastic. What is emphasized here is that body, voice and expression are all means to create roles, and actions, language and expressions are firmly in the hands of the actors themselves, so as to create their own roles. Stanislavski said: "The body is relaxed, the muscles are not tense, and the whole body and organs completely obey the will of the actors, which plays a great role in the creative state. Through this kind of training, well-organized creative works can be presented, and actors can freely express their inner feelings with their own bodies. " When a character doesn't have a few lines, all his important scenes are actually here, and the scenes without lines are often the best. Among them, the actor needs to express it carefully and accurately through actions and expressions, so that the audience can clearly "see".
3. The feeling and control of the actor. The performance must be accurate, measured, meet the needs of characters and situations, and conform to the rhythm of plot development and change. All this requires actors to experience, feel and control. Crying and laughing in film and television, since it is artistic creation, can not popularize naturalism, but give people a sense of beauty and an artistic enjoyment. People's laughter and crying in life, whether pleasant or harsh, have nothing to do with the overall situation, but on the screen, people must be as beautiful and moving as music, so that their performances can impress the audience without causing physical adverse stimulation to the audience. Only when the actor's feelings and roles have sounded * * *, can a more touching "creative state" be reflected, but the actor will still control it. The degree of this control lies in not destroying the "truth of art" and not falling into a real crying situation. Gratitude, helplessness, shame and other complicated feelings make everyone's heart intertwined, so actors must have the ability to control their emotions. Only by grasping proper limit, can we grasp the hearts of the audience, and can the play itself be truly presented to everyone.
Chapter II Action is the Foundation of Performing Arts
1, what is action? Some actors, especially those without formal training, always want to express their feelings or "images" directly in their performances. What's more, they often perform in a certain mode that can be seen on the stage, screen or screen. Stanislavski emphasized that actors should first grasp the movements in their performances. But what exactly is action? Chahawa, a famous dramatist in the former Soviet Union, pointed out: "Action-this is an action that is produced by will, has a certain purpose and belongs to human behavior. Action has two basic characteristics: (1) it is produced by will; (2) Have a certain purpose. The purpose of action is always to change the object of action or to transform it in one way or another. These two basic characteristics mentioned above fundamentally distinguish between action and emotion. "
2, the authenticity of the action. Performing arts is the art of shaping characters, and the shaping of characters is based on their actions. Action is always a proactive process. On the one hand, it will occupy a certain space, so it is more intuitive. On the other hand, it also has a process in time, so it also has a process. Whether an actor is creating a character or an audience is watching the creation of an actor's role, it is done in the unity of intuition and process. In a TV series, actors can actually complete the characterization through the process of one action after another; The audience appreciates the actor's creation from the process of the characters' actions one after another. Therefore, the organic process of shaping characters' movements is a very important issue that actors should pay attention to when mastering creative methods.
Everyone will have a psychological process when they act, which includes some links such as feeling, judgment, attitude and decision. When an actor completes any action in a performance, there should also be such a process and all links in the process.
However, not all actors can do this when performing. Some actors often perform the results directly, because what the role has to do is always written in the script, and it is easy for actors to jump directly to the results when performing, ignoring the organic process of action and losing some links in the process of action. This kind of performance is called "performance result". In this way, the actor's performance will inevitably make the actions of the characters lose their authenticity and organic nature, and the result is very false and artificial. If an actor wants to make his performance real and organic, he must grasp the organic process of action, especially the main links in the process of action, just like in life. Some people call the links in the process of action "action chain", which is exactly the same as the links in action.
First of all, when an actor completes any action, he must have a real feeling. The feeling mentioned here means that the actor should use his sensory organs to perceive the events and facts in the script and all the subtle reactions in the actions of your co-actor. Never, just because everything is written in the script, actors can't feel it without coming to the prophet. We often see some actors pretend to look at their watches and then say something like "Why hasn't he come yet". However, if you ask him what time it was when he looked at his watch just now, he may be dumbfounded, because he didn't really look at his watch at all, just glanced at it.
Only on the basis of feeling (perception) can an actor make a judgment. However, when we say that judgment is made on the basis of feeling, we don't mean that judgment begins after feeling is finished, but that judgment will appear at the same time as feeling. The difference between the two is that what they feel can only be objective facts, and the judgment will definitely be subjective analysis. Although judgment is a very important link in the process of character action, actors must pay attention to it when performing. Although judgments appear on the basis of feelings, they should not be misunderstood as separate. In fact, judgment always appears when you feel the objective facts, but some facts can be judged as soon as you feel them, and some facts can only be completed if you keep feeling them. For example, in a script, people are trapped in a cave. When looking for an exit, you can immediately judge that the exit is at the end of the running water by the sound of the running water, find the water source and find out where the exit is. However, if one side is the direction of running water and the other side is the direction of light, then we have to think about how to go, which side is the exit, how to go and so on. As for the judgment of some important facts, such as understanding the enemy's strategic intention and solving crimes, it can only be truly completed on the basis of repeatedly collecting facts and analyzing and studying these facts.
Actors should also judge the facts provided in the script and the performances of their co-actors as they do in life. We must really judge on the basis of real feelings according to the specified situation of the script, the relationship between the characters, the character of the characters we play and the nature of the events and facts we are facing at present. If the feeling requires the actor to really listen and really see, then the judgment requires the actor to really think, watch and think, listen and think, and think and judge according to the logic of life. Long is long, short is short. Some actors don't do this in their performances, but judge for the sake of judging, where to perform and where to think. They understand at once when they hear what the other person says, and they should react immediately, so they should stop and think for a while before reacting, giving people the feeling of affecting the rhythm. Although in some TV dramas, the process of judging an event can not be completed until the end of the whole drama, such as some TV dramas that solve crimes, this does not mean that every action of an actor must have a long-term judgment. In the performance, sometimes you can judge for a long time, and sometimes you may just feel it and finish it in an instant. This requires an actor to carefully study the specified situation, character, character relationship and the nature of events and facts provided by the script, and then create accurate (not necessarily correct) judgment content that conforms to the characters according to the logic of life. Only in this way can we truly reveal the psychological activities of the characters.
It can be seen that the so-called judgment is people's analysis and thinking about the surrounding environment and the events and facts that occur in this environment; In the performance, it is the actor's analysis and thinking about the situations, events and facts specified in the script. Therefore, it is sometimes called "judging facts" in performance. What the action process shows is actually the psychological activity process of the characters. Grasping the links in the action process of the characters aims to truly and organically express the psychological process of people, because the lack of any link will expose the falsehood of the actors. For example, without seeing or hearing anything, act with joy, surprise and fear, pretend to have an attitude, act without thinking and judgment, and so on. , will destroy the organic and real action, thus making the actor's performance lose credibility. We must hear someone's footsteps before we can react accordingly. As long as the people who come don't make any footsteps, we can't have any reaction or action. As long as we make false reactions and actions, it means that we have lost the authenticity of the play, and the audience will naturally think that the play is false, so the play is disappointing. Therefore, acting must come from life and truly accept every link and everything that will happen.
In fact, the actor's psychological activities in the process of shaping characters are already the actor's experience of the characters' thoughts and feelings. At the same time, this experience can only be perceived by the audience with the help of body movements and language movements. Therefore, actors must consider and seek the most accurate and distinctive body and speech movements to express the psychological activities of the characters. In performance, on the one hand, there must be no external performance of experiencing the psychological activities of the characters without the action process; On the other hand, it should not be a process of action and psychological experience without external performance at all. Only by unifying the inner experience and the outer performance can an actor truly show the action process and psychological process of the characters.
Chapter III Conclusion
Action is the most important and indispensable link in performance. All the preparations made by the actors before are for this moment, which is the so-called "one minute on stage and ten years off stage". The achievements on the stage can not be achieved overnight, but through long-term exploration, practice and training. Stage action is also one of the stage elements that actors must master in their own growth.
Action is the soul of drama performance, and performing art is essentially the art of action. As an artistic creation process, stage action has its unique regularity and scientific logical order, and actors must master the whole process of stage action. There are a series of action links in the process of action, and only by experiencing these links in the process can its authenticity be shown. Stage action is an artistic reflection of real life, as rich and complicated as life itself. Actors must understand the various types of stage movements, so as to standardize the rich and complex movements, master their differences in details in creation, and make the stage movements full of vitality. Any role image played by an actor must be presented to the audience through the stage action process without exception. Therefore, action is the basis of performance, and it is also the most fundamental and difficult element in performance. Mastering stage movements can help actors to successfully complete their role-building, which is the theme that actor graduates need to study and explore.
Four years of study, four years of life, four years of experience and four years of performance.
On the "action" in the performing arts 1 Key words: drama performance; The art of action; Generating path
China Library Classification Number: J6 16.2-4 Document Identification Number: A Document Number:1005-5312 (2017) 21-0132-.
Drama performance is a typical visual art, which needs dynamic visual images to complete the characterization, the promotion of the story and the sublimation of the ideological theme. Action art plays a vital role in drama performance and is the core means for drama art to reflect real life. Therefore, it is of great practical significance and guiding value to strengthen the study of action art in drama performance.
First, the artistic characteristics of body movements in theatrical performances
The body movements in drama performance have distinct artistic characteristics, which are embodied in the following three aspects: First, communication. Action art is an art form in which actors use their body movements to convey information to the audience to complete their performances. In drama performance, actors express emotions and other emotions through all or part of the morphological changes of their limbs, which is an important way of emotional expression and psychological presentation and has strong interaction; Second, popularity. Drama performance is the art of conveying related thoughts and emotions through the artistic presentation of intuitive images. In this process, the visibility of action art not only provides great convenience for the actor's emotional expression, but also effectively enriches the artistic presentation of drama performance; Finally, development. The action art in comedy performance has a strong expressive force. Actors can combine the different performances of different parts of the body, tap the internal potential in a targeted way, and then reach the extension of emotion, which is the development of body movements. Specifically, in drama performance, actors should use their bodies to express specific emotional and psychological trends, and then achieve the purpose of optimizing the performance effect.
Second, the three elements of body movements in theatrical performances
In a dramatic performance, an actor's actions are mainly composed of three elements: task, purpose and way. The specific connotation is as follows:
(1) action task. In drama performance, the task of action is to make clear the specific content of the task on the basis of fully understanding the plot, that is, to make clear what to do. The action task will change because of the change of plot and time, which will cause the change of action. Excellent drama actors should always be clear about their action tasks, and transform the text content into action behavior through imagination to achieve a high degree of fit between action art and role;
(2) the purpose of the action. In drama performance, all actions have a specific purpose, but this purpose is not only a simple rational analysis, but also a psychological basis, which can effectively stimulate the performance passion of actors and promote the positive generation of specific actions of actors. After fully understanding the plot, actors will form a preliminary understanding and structure of the characters, and then enrich and expand them through imagination. After defining the action task, they will shape it through concrete actions, so as to achieve the expected performance purpose and effect. It can be said that an excellent drama actor must know every movement purpose like the back of his hand, so as to ensure the authenticity and naturalness of the movement and realize the refinement and personalization of the drama performance;
(3) the way of action. In drama performance, the action mode is the concrete presentation means of the action purpose, that is, the actors take different actions in different ways in combination with the trend of the plot, the relationship between characters and the changes of the scene. The way of action is essentially to make the purpose of action more specific, that is, to make the characters more full and three-dimensional to present to the audience.
Third, the generation path of action art in drama performance
First, strengthen observation and experience. Art originates from life, is higher than life and belongs to life. Therefore, actors should strengthen observation and role experience in their daily life, which is the premise of successfully shaping dramatic characters. Specifically, the first step is to conduct a comprehensive observation of the external characteristics of the characters, including age, habits, demeanor and so on. The second step is to grasp the internal dynamics of the characters, including growth experience, thinking habits, interpersonal communication, educational background and so on. The third step is to personally experience the life of the characters and accurately understand their thoughts and feelings in a specific living environment. It can be said that the role's life experience is the key to defining the action task, which all drama actors should grasp.
Secondly, read the script and make an in-depth analysis. After the actor gets the script, he should first read it carefully, fully grasp the background, character setting and plot direction of the plot, and make an in-depth analysis to clarify the purpose of the action. In drama performance, all characters are the product of the combination of specific situations and actions, and all actors' performances are inseparable from specific situations. The quality of characterization is directly related to the actors' understanding of situations. Therefore, if an actor wants to shape a character with full personality and three-dimensional image, he must grasp and understand the specific situation from the standpoint of the character's life and grasp the essence of the character's action, so as to truly and naturally shape the character's image.
Finally, adapt to the action and grasp it in depth. Action adaptation is a kind of psychological reaction when the roles interact in emotion and appeal, which mainly includes the following two aspects: on the one hand, external action adaptation can fully express the emotions and appeals of the roles, thus effectively ensuring the continuity of communication between roles and the development of actions; On the other hand, it is the adaptation of psychological dimension, that is, it is necessary to have a real feeling for the stimulation given by the actors participating in the performance and truly reflect the natural psychological reaction of others when they give stimulation.
In short, in drama performance, actors should fully grasp the relationship between action tasks, action purposes and action modes on the basis of clarifying the characteristics of action art, and take effective measures to generate action art efficiently, which requires not only strengthening observation and experience, but also being familiar with the script, making in-depth analysis, and at the same time adapting to the action and grasping it deeply. Only in this way can we ensure the optimization of drama performance and realize the comprehensiveness of role shaping.
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