Although "Rival" has been broadcast for a long time.
But the actresses in it are really worth writing about.
Especially some time ago, when Duan Yingjiu, a female police officer, was writing, she saw the rivalry between Yan Bingyan and Tan Zhuo.
What is a master trick?
Without a line, just relying on your back-and-forth eye contact, you can play a tense drama of cat and mouse temptation.
Compared with the female police officer Duan Yingjiu, Tan Zhuo's Ding Meixi, whose identity characteristics are more complex and changeable-
Chinese teacher, Taiwanese spy, middle-aged mother.
Every identity, taken out alone, can make a big drama.
Not to mention navigating these identities and switching quickly.
To be beautiful and beautiful, to know the performance of intellectual;
There is also a bit of fatigue and pyrotechnics worried about chai rice oil and salt.
Such a difficult role, only Tan Zhuo dared to take it.
Tan Zhuo has a complex temperament -
A sense of power and beauty coexist.
Not purely sensitive and fragile, but also not absolutely rational.
Therefore, playing a beautiful female teacher, she has an intellectual temperament as the bottom.
When switching to a female spy who relies on beauty to get intelligence, there is a variety of mature women's style; when performing tasks, raising hands and feet, neat and clean, with professionalism.
Tan Zhuo in the play seems to interpret each identity with ease, each with its own recognition.
However, to combine spies, female teachers and wives into one person at the same time, it is not difficult for actors.
Even Tan Zhuo himself said:
"The process of playing the character of Ding Meixi was very painful and tearing, and halfway through the filming, I even wanted to break the contract."
This pain and tearing, on the one hand, comes from the characters.
In "Opponent", the role of Ding Meixi itself has a strong sense of tearing and breaking.
On the one hand, she is a Taiwanese spy and must unconditionally obey the orders of her superiors.
In the face of the task, love, family, and even one's own body are reduced to tools.
On the other hand, she was also a teacher, a wife and a mother.
Maintain the dignity of preaching before people.
At home, we have to face the reality of being poor and poor.
The more difficult part is how to make these three identities stand.
To this end, Tan Zhuo has made a lot of efforts.
In order to show Ding Meixi's professionalism, he used sex to seduce and get intelligence.
One action is enough.
Before carrying out the task, Tan Zhuo pulled the collar with his hand.
All of a sudden, the characteristics of this profession and the sadness of the role are revealed: using the body as a tool.
In the play, Ding Meixi will have a "brushing teeth" action after each mission.
This action not only makes the character of Ding Meixi have a deeper memory point.
It also interprets Ding Meixi's sense of disgust and escape from the identity of the spy -
Brushing teeth, which stands for cleansing.
She tries to use the action of "brushing her teeth" to escape her fate and gain rebirth.
It is worth mentioning that this "stroke of god" is not on the script.
It is Tan Zhuo who starts from Ding Meixi's heart and adds designs to the characters.
In "Opponent", Tan Zhuo's intriguing performance details are many.
For example, in a climactic scene where Ding Meixi is kidnapped.
Tan Zhuo performed different reactions in the three stages of "sensing danger", "facing danger" and "danger eventually comes".
At that time, Ding Meixi was in a situation of being wiped out by his superiors.
When a person perceives danger, there are two instinctive reactions: to call for help and to retreat.
Tan Zhuo used two details to express it.
His hands were tied behind the chair, trying desperately to break free.
The whole body instinctively retreats.
Notice --
Tan Zhuo took the chair and threw it backwards, like a fish to be slaughtered jumping up on the board?
When you foresee that danger is coming but you can't escape it—
The characters feel very frightened inside and even begin to collapse.
When Ding Meixi saw Director Lin very calmly preparing for the killing, the fear and anxiety in her heart were even greater than just now.
How to externalize fear and anxiety?
This place, Tan Zhuo used silent crying to show.
Silent crying is actually a test of acting skills.
Without the help of sound, all emotions can only be expressed by controlling facial expressions.
Moreover, at this time, she still has a glimmer of hope for help, so the expression of silent crying is not so strong, and it is also conducive to the creation of atmosphere and the accumulation of emotions.
Until the end, the danger finally came.
When the call for help is useless and death is slowly approaching, it is the highest point of emotional outbursts and collapses.
At this time, the fear in the character's heart becomes a mountain that can crush everything.
Tan Zhuo's performance also changed from silent crying to hysterical roaring.
And the whole body trembled uncontrollably.
Mature actors are like this, knowing how to use the details of the performance to make the characters come alive.
It is also this natural and smooth, but also extremely difficult performance, so that Tan Zhuo was once again praised as "acting skills exploded".
Piao has also said before that the acting skills of explosions are not necessarily all explosions.
Rather, every expression and action is accurate enough, whether it is performed or released, it can be close to the character's emotional changes and inner fluctuations at the moment.
On this point of accuracy, Tan Zhuo, who plays Ding Meixi, gave a standard answer.
Speaking of which, Tan Zhuo is a young and famous actress.
When he starred in his first film, "Spring Breeze Drunken Night", he was only 24 years old.
At that time, she was the darling of literary films.
In the early days, her temperament had a strong sense of alienation in her appearance.
Like Hao Lei in the "Summer Palace" period.
Not only that, Tan Zhuo of the wind sign (Libra) also has a fairy spirit like a lin sister.
She has a strong artistic atmosphere, sensitivity and fragility are the background of her personality, and this sensitivity is even sometimes almost neurotic.
It's sad to see the fallen leaves, and it's also very sad to see the corners of the book folded.
And this sensitivity and strong sensitivity, put on an actor, has become a sharp weapon in performance.
This is also the main reason why Lou Ye has no acting experience in the photo and plays the heroine.
People who are familiar with Lou Ye know that Lou Ye likes performances without traces.
And for a newcomer actor, the best technique to present a performance without traces in front of the camera is -
Be yourself.
Therefore, Tan Zhuo can play the heroine Li Jing well, not by relying on the professional skills of an actor, but by the nudity of his true personality.
In this film, she contributed many classic clips that can be famous in film history.
A crying scene in KTV -
Tan Zhuo not only expressed Li Jing's heartbreak and grievances in the world of love.
At the same time, it also shows the fragility and kindness of the characters with a very natural embrace.
The highly accomplished performance in "Spring Breeze Drunken Night" proves that Tan Zhuo is a talented player.
Since then, her unique artist temperament has also attracted many art film directors of the same genre.
For a long time, Tan Zhuo seems to have received this kind of complex depression, which requires actors to mobilize extremely strong emotions to participate in and immerse themselves in the role.
For example, "hello! Zhang Xiaomei, a mute woman who cannot express her inner feelings in "Mr. Tree".
Xiao He, a journalist who rebels against tradition in "Little Lotus" but ultimately cannot escape his fate.
These characters are all full of tragedy.
During this time, Tan Zhuo also fully devoted himself to the performance.
Rather than using her skills, she is better at using experiential methods to interpret her inner sensitivity, fragility and sentimentality in literary and artistic films.
Acting is engaged, acting is crazy.
Literary films have indeed made actor Tan Zhuo.
However, this method of fully devoted performance has brought great consumption to her.
Especially for newcomer actors who are not experienced enough, if they can't find an outlet for a long time, they are in danger of falling into the abyss.
This danger broke out in 2013.
In 2013, Tan Zhuo was diagnosed with depression.
She had talked about this experience in front of the media —
Depression first brought her physical discomfort, persistent stomach pain and insomnia.
It has even affected normal life.
When swimming, the water will suddenly deform, causing Tan Zhuo, who has always been very watery, to suddenly drown without breathing.
After that, for a long time, she couldn't even see water and had to rely on medication to sustain herself.
It was also this year that she took over the drama "Like a Dream" and played Gu Xianglan.
For Tan Zhuo, "Like a Dream" is her self-help.
The exaggerated externalization of the performance on the drama stage, to some extent, allowed her to release the deep depression in her heart.
Gu Xianglan became an emotional outlet for her.
Bottomed out.
Using this word to describe Tan Zhuo in this period could not be more accurate.
She actively struggled with depression and sought help from friends around her at the time.
Try to get rid of drug control and use your will to defeat the disease.
During the fight against depression, Tan Zhuo also completed a turn in his acting career.
Starring in "Like a Dream", she changed the previous spontaneous combustion performance method, more and more understanding, using skills to reach the heart of the characters, express emotions.
Her sensitive and easy-to-fold personality has also changed as a result of this experience and become more rational.
After this, she changed her habit of only acting in literary films.
Gradually, I tried some other types of roles, and the play became wider and wider.
In 2018's "I Am Not a Medicine God", Tan Zhuo was deeply rooted in the hearts of the people with the role of single mother Liu Sihui.
In the evening is a sexy dancer dancing pole dancing;
During the day, it was for the sick daughter, the mother who kept running and fighting hard.
In the same year, she played the villain noble concubine in "Yanxi Raiders", and her domineering but city-no-city mentality was also well received.
This year can be seen as the breakthrough year of actor Tan Zhuo -
On the one hand, she finally got rid of the niche drama road of literary and art films and took on more popular and commercial dramas.
In 2019's "Manslaughter", she played the mother of the murdered girl, Ayu, and played in the same frame as Chen Chong, not losing at all.
In 2020's "Silent Truth", Li Jing, who she played, was equally eye-catching among liao fan and Ning Li.
On the other hand, Tan Zhuo's performance style is also visible to the naked eye and is becoming more and more mature.
She began to transform from a talented player who relied on sensibility to perceive the role to:
There are professional actors who are both invested and withdrawn, who can stand outside the role and interpret the role, and then give the role life.
For example, in "The Silent Truth" —
She is able to use some detailed movements to complement her performance, thus making the role more convincing.
By the time of "Opponent", she has become more mature and confident.
Not only to present the authenticity of the character's identity, but also to add a lot of their own design.
In the interpretation of the characters, even a little bit of directing skills in scheduling and running mirrors is shown.
Tan Zhuo in life, the state of the whole person is also more relaxed and free.
After the filming of "Opponent", she and Guo Jingfei became very good friends.
The two laughed a lot in the interview, and it was difficult for you to associate her and Ding Meixi again.
I no longer devote my whole life to performance.
It's about getting out of it and doing more.
Participated in drama, went to Peking University to study philosophy, and began to do installation art in the past two years.
In 2020, her installation Baguette of Infinite Possibilities was exhibited at the Shanghai Contemporary Art Fair.
In 2021, she created the installation "Afternoon Tea" against the background of the epidemic.
In her opinion, acting in film and television dramas is more of a character talking, but in the world of art, she is more able to express herself.
Outside of work, she has to set aside two vacations a year to spend time with her family.
From Tan Zhuo, in fact, we can clearly see the transformation of a talented actress.
In the early days, she devoted herself to acting, relying on her talent to shoot one scene after another.
I don't expose myself much, and I don't care much about fame and traffic.
He won the title of "Queen of Literature and Art" for himself, but also forced himself into danger.
Now Tan Zhuo is no longer a fairy goddess of literature and art.
Commercial films, TV series, and niche actors became more and more mainstream.
Some people may lament such a change.
But in Piao's view, this is precisely a mature actress, more professional, but also a healthier, more benign state.
It also gives us a new understanding of the continuity of the actor's acting life.
Of course, performance requires people to devote themselves wholeheartedly and take it seriously.
But creative work like an actor is inherently draining.
Sometimes, taking it as the whole of adult life, even if it can bloom for a short time and look at it in the long run, it is not conducive to the continuity and health of the actor's acting life.
After all, the clouds are easy to scatter and shatter.
Things that are too beautiful and too fragile are always easy to bend, and people are the same.
Tan Zhuo, who has survived the torment of illness, shifted his vision from work to life and felt the joy of life.
Maybe it's a gifted actor who keeps the performance alive.
Moreover, from pure experiential to skilled performance actors.
Tan Zhuo's free, elegant and calm posture has not changed.
Her transformation has a little more resilience, and a little more roughness polished by life.
Such a shift will not shorten her professional life.
It will only make her career longer and broader.