Why does Guo Degang like to sing Peking Opera? Of course, it is not because Wang Mengting is beautiful, but because singing Peking Opera has the highest degree of pleasure in itself
Guo Baochang, the director of "The Gate of the Big House", recently published a book called "The Amazing Game... Peking Opera is really good", there is such a paragraph in the preface, I picked it out for everyone to see: Guo Lao, for many years, wandering between movies, TV series, dramas, and Peking Opera, he is the most qualified to talk about the relationship between these four art circles. He said: "In my experience, acting as an actor enjoys Peking Opera the most, followed by drama, then movies, and the most boring is TV dramas. The most playful TV series... The most intense thing about making a movie... The heaviest burden is acting in drama... Comparatively, singing Peking Opera... On the stage, I want to sprinkle joy, express myself, just want to have a drama addiction, win the lottery, applaud from the stage, and achieve the happiest moment in life. "This analysis is like duck slices with Beijing sauce, crisp and unchained, and the aroma is rich.
As we all know, whether it is TV movie songs or stage art, bringing "pleasure" to the audience is the first purpose, and the "pleasure" here of course does not only refer to happiness and happiness, but includes all the feelings of joy and sorrow, so that people's hearts can be touched to bring "beautiful" enjoyment. But most of the general audience pays attention to the "pleasure" that the actor brings to himself, and few people will think about how much "pleasure" the actor himself has on the stage. What's the difference?
Of course, it is a skill for a cross-talk actor to be able to amuse the audience by relying on two mouths, so how high is the actor's own pleasure on the stage? How much tension? How many are mechanically speaking lines? Is there a sense of relaxation that is tense on stage and relieved to get off stage? So is there a feeling of pain and suffering on stage? In fact, I have always wanted to hear the actors express their own experiences. Guo Degang has always said that his favorite is singing opera, he sings the Beijing commentary from the artistic difficulty and gold content, the lowest difficulty of the evaluation (low tone is also on the one hand), he sings the best, Hebei Zizi is in the middle (the difficulty is mainly high), he has a voice is not afraid, Peking Opera is the most difficult, his level in Peking Opera is also the lowest, because the standardization requirements of all aspects of Peking Opera are high, such as the time he performed "Sitting palace", he stepped on the wrong gong and drum sutra as soon as he appeared, and the gong that opened in front of the play (the big gong opened the play to the small gong) Before he finished playing, he came out early, and should have appeared in the "hat head" of the small gong round field, and one appearance could see the level. (Idle a sentence, if the ticket holder lets the professional teacher guide, just like to take the difficulty, long paragraph to start, in fact, the professional teacher does not need to listen to so much, just sing a sentence of the original board to listen to your word head, belly and tail, the tip of the ball is catchy, and the cavity is used to know the size of your ability). In fact, he has always been in a state of panic and confusion in this appearance until he hit the introduction and set the scene poem, because he does not know what the role of each part of the Gong and Drum Sutra is... But although it can't be as happy as the commentary on Hebei Zizi or the clown play, fortunately, the stage is all tightrope and does not understand these subtleties, as long as he enters the place where he sells his voice, he can play his strengths to get applause. Because he knows his own length, he rarely plays traditional old plays, because there is a comparison, there is a distinction, take the new choreography that others do not sing, he can avoid these normative requirements, as he himself said, "I let you spit and there is no place to mouth", so that you can enjoy the stage.
In the end, in fact, he likes to sing mainly because the threshold of singing is higher than that of crosstalk, and the audience can amuse themselves with the crosstalk, and even learn a fragment, but singing is not something that everyone can learn in place, which is the most simple "I will you not" The sense of superiority brought by the pleasure.
Of course, for professional actors, singing and playing, hand-eye-body steps are natural performances that penetrate into the bone marrow, Peking Opera, as Guo Baochang said, is to use clever normative skills to make games, the audience is not only watching the game content, but more importantly, how the actors mobilize skills to complete the game.
In general, the fragmented performance of film and television is put aside, as a stage art in one go, from the perspective of the actor's own "pleasure", there is no coolness in singing, no cool in singing, only a line of heads, a step forward, a water sleeve, a brush of hair... I'm going to start cooling!
