Voice training: echo practice, in pairs. A shout, B echo A, and then switch roles. Pay attention to the volume change and see if the other party's response is correct. Adjust your voice, the dog gasps, and so on. Articulation is clear and the frequency is stable.
Environmental imitation training: everyone forms a circle, and each person prepares three kinds of selling sounds that imitate their own lives in advance, and then sells them one by one or together to create an atmosphere. Pay attention to creating an atmosphere. Restore reality.
4 Duet: Men and women are divided into two groups, male singing a paragraph and female singing a paragraph, alternately. Pay attention to the use of breath. The old drama performance artist advocated that the abdomen should be forced and the lower abdomen should control the breath. However, it has also been proposed to control breathing by inhaling through the chest. No matter which way you practice, you should pay attention to the control and adjustment of your breath, and don't shout with your voice. The voice should be round and full.
5 Recitation: Let's talk about the material selection of recitation works. First, actors should choose their favorite works. If it is a work you don't even like yourself, how can you expect the audience to like it? ! Like is the premise, you have to share what you think is good and valuable, so you have to tell everyone. In addition, recitation should have true feelings, and should not suppress feelings and be false and artificial. First of all, we should learn to forget the skills we have learned before and the so-called recitation routines that have been formed, and don't blindly imitate recitation performances in coal bodies such as television and radio; Recitation should be audible, clear and beautiful; These three standards are progressive.
What you hear is the requirement for volume, timbre and breath. Drama performance is different from film and television performance. It is not easy for the audience in the last row to hear what you said in the theater. It depends on long-term and serious systematic training, so actors should cherish every sound practice and pay attention to practicing and protecting their voices at ordinary times. Eat less spicy food, drink less alcohol, don't make a hullabaloo about, and try to eat less food that irritates your throat. In the performance exam, the examiner asked the candidates to whisper to the people next to them, but let the audience hear them. There are similar topics, such as 10 people in the room, and candidates call their names. There are 100 people in the room, 1000 people, 10000 people, and how candidates will control their voices. During the examination, the examiner can also ask some questions according to the candidates' own characteristics. For example, some candidates can't let go of their voices, they can shout loudly, and some candidates like to make a hullabaloo about. The examiner can ask him to read a love poem.
Second, listen clearly: that is to say, first make clear what you want to express and the article you recite. It is not easy for strangers to listen to your stories patiently, which requires the sincerity of the actors. Read the article with your heart. Sometimes, in order to memorize a classic work, actors often collect some relevant background information to enrich their works. This is necessary. The audience doesn't want to hear the same repetition; Actors should have new discoveries, new understandings and feelings, and convey them to the audience through your recitation. Therefore, as an actor, we should read more books and watch more movies. And use various means to enrich their self-cultivation.
The beauty of listening: this is a higher requirement. Whether the audience can be conquered depends on the skill of the actors. Same job. Different people often have different effects when reciting. An actor may read the same sentence a second ago and then try another way. Actors should think more, explore their works from different angles, and then choose the best scheme. Of course, it is important to respect the work itself, and we can only make the work fuller. Don't play at will, misinterpret the original intention and shrink the work.
In the line training class, we should learn from each other and analyze each other, not just pay attention to skills. True feelings come more directly, and sincerity is easier to impress others than any means and skills.
6 make up stories:
On the basis of learning to recite again, you can carry out propositional or semi-propositional storytelling training, or you can choose materials freely and make up stories.
It is very important to choose the right material for making up stories. Old performing artists often say that "it is reasonable and unexpected", that is, to respect the logic of life and the truth of life itself. Refining and processing on this basis will make the work more "tasteful". Don't make things up, repeat tedious or cobble together other people's works. What the audience cares about is your unique understanding of life. So when we make up stories, we'd better choose the things around us, our own unique experiences or borrow valuable experiences from others. Everyone has different attitudes and experiences towards life, so the stories made up will definitely have their own merits. Actors don't have to stick to uniform standards. The criterion to judge whether a story is good or bad is whether it can really touch the hearts of the audience. Of course, when I say impressive, I don't mean just making the audience cry. Touching and crying are different. Touching is a kind of * * * sound based on understanding.
I once heard a story about a border checkpoint. It is snowy and cold in winter, and soldiers stand guard at checkpoints in the snow. Once an army chief came to visit the officers and men of this post, and a little soldier reported to the chief that the conditions here were really hard. Freeze the soldiers to death. The village chief was furious and shouted at the station attendant, "This happened here. Bring me your monitor ... I will punish him! " The station sergeant cried and said to the officer, "The soldier who froze to death is our monitor ..." Although the story was simple, it hit home. Of course, we don't have to stick to this example, as long as you carefully observe your life, reflect on your experience, care about your living environment and care about the world. You will learn how to make up stories, and you will understand many things in the process.
Through storytelling training, the director can see an actor's value orientation, aesthetic orientation, personality and many other things. Actors can also learn to observe life and reflect on themselves. You can also share others' feelings. Learn to understand others. It is important for actors to learn to understand.
Second, basic physical training
1 personality liberation:
The actor's body cannot be ignored. Some actors have studied dance before, and some have practiced aerobics, so their temperament is very good. However, for people who have not received physical exercise, they may not pay much attention to their physical problems, such as walking without swinging their arms, walking while walking, hunchback and so on. These incorrect postures are fatal to the actors on the stage (unless the role needs special needs). So it needs to be corrected through training. Actors themselves should always remind themselves that they are actors and have the temperament of actors.
General fitness teachers can take actors with them, separate men and women, do some relaxation exercises, and exercise (let students who are good at dancing teach you a few simple steps). After that, the physique teacher corrected the actor's sitting posture. Stand up. All right. Basic movements such as walking are not correct. Then play a piece of music for everyone and let the actors close their eyes and imagine freely. Under the guidance of the physics teacher's advice, do various stretching exercises to relax your body. For the first time, the body teacher can give appropriate hints and guidance, and then let the actors imagine freely. Set your own scene.
Through such training, actors can relax and correct incorrect postures. Make the body very comfortable. , help to shape the stage image. Besides, actors should also pay attention to keeping fit in their spare time. Do some exercise to keep healthy.
Third, performance training
1 sensory training:
Let the actors stand in a circle, separate men and women, and then let everyone walk naturally, without specifying direction, purpose, speed or setting the scene. (At the beginning, it is likely that people will naturally walk in a circle and go in the opposite direction. Then the director began to set the scene for everyone. Such as the school square. It is required to disturb the order and direction of walking. Feel free to walk. After that, the director can set a special environment for everyone. For example, you are all walking on the beach now, and the sand is soft and comfortable to step on. The sun is very hot. The sun is getting hotter. At noon, the sun shines directly overhead. You find yourself walking in the desert, surrounded by sand. The sand is very hot in the sun, and your feet are very hot. At this time, most students will slow down and act thirsty. ) The director can continue to create the environment. One of you found the oasis. Everyone's performance is different, and the location of the oasis is also different. Sometimes, three are found at the same time. You walk out of the desert, back to school and back to Little Square. At this time, it began to rain lightly, and it rained harder and harder (at this time, most people would go to shelter or hide)
Through this training, we can see some common problems of actors-sameness. Actors should follow the director's instructions to convince themselves of their environment and truly feel the scene (although this scene does not exist, in the actor's imagination, he exists and is full). Only by believing can we feel and feel. The director can see whether the actor's feelings are in place and conform to the logic of life in the whole process. The actor believes in the scene created by the director and feels the environment with his heart. Or are you peeping and imitating other people's performances?
2 Observation training
An animal imitation training;
Imitation is a very important skill for people, and actors should pay more attention to it. If you want to imitate, you must first observe the object you imitate with your heart.
The director arranged for the actors to go back to observe the animals in life (you can go to the zoo) and imitate three different animals. The bigger the gap, the better. Pay attention to the imitation of details. For example, imitating a cat's homework depends on whether his detailed observation is accurate. The way the cat scratches. The way cats walk. Cat's eye, expression. Is it a lazy cat lying on the balcony in the afternoon or a naughty kitten? Actors should also grasp the characteristics of cats when doing their homework. Try to master the cat's demeanor gradually by imitating the external form. Only in this way can we imitate it vividly. There are also many students imitating orangutans. When doing this homework, most people pay more attention to the external shape of orangutans, for example, a bulging mouth. Open your nose. The way you walk. Hand movements. Even as thin as a finger. Students who do this homework had better let him do monkey imitation training again, so that through comparison, we can test whether he can grasp the differences between the expressions and shapes of two animals. Sometimes, if you want to grasp the mental behavior of animals, it is not enough to observe for a day or two. Some features can only be discovered by long-term observation. Actors can read some books and look up some materials to enrich the animals they imitate.
Second, observe the opponent and grasp the characteristics:
A team of actors and actresses stood face to face. There is a one-to-one correspondence between men and women, and the distance between the beginning and the middle is slightly larger. Then the director gave the signal that each high-five shortened the distance between the two columns of actors and actresses. In this process, let the actors pay attention to observe each other. Finally, the distance between the actors is very close, almost face to face. Maybe during this process, the actor feels uncomfortable. Laugh. The director should remind the actors not to just laugh and not to concentrate on observing each other. After this exercise, let the actors and actresses return to their original distance and let everyone say the characteristics of observing their opponents. See if others can find out his observation object through his description. Note that some actors may say that the observed object looks like a star when describing it. Don't describe it like that. Such a description is a failure, without carefully observing the characteristics of the object, but perfunctory; Observe carefully, in other words, throw your observation object into the crowd, and through your description, can the director accurately find out who you are observing?)
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