First, "abandoning medicine and practicing art" is her challenge to release herself
Tan Fei: Welcome Zhou Xianxin to "Four Tastes of Poison Uncle". I remember that you originally had a nickname called Xiao Gongli, and I heard that this title was passed down from the time you were studying Huaxi Medical University, and told us about this unique experience.
Zhou Xianxin: This was also many years ago, almost 20 years ago. I am a class 93 student of West China Medical University.
Tan Fei: I am the same level as me, I am the 93rd level of the Chinese Department of Sichuan University.
Zhou Xianxin: Then let's shake hands, we also belong to the same level of alumni.
Tan Fei: I didn't know you at that time, you little Gong Li, I should have known you back then.
Zhou Xianxin: At that time, there was no merger, and the time when I first entered the school was the most radiant time for Gong Li's sister. Some people in the school said that this female classmate looks a bit like Xiao Gongli, plus I am also a literary and artistic activist, and sometimes people will shout from the boys' dormitory downstairs, Xiao Gongli, Xiao Gongli.
Tan Fei: I heard that after five years of studying in Huaxi, you studied in Chinese opera for another five or six years.
Zhou Xianxin: Yes, after I graduated from Huaxi Medical University, because of some accidental factors, I wanted to change careers, so I went to Chinese opera and was admitted to an adult college. At that time, I already had a bachelor's degree, and the teacher felt that my professional image was good, so he accepted me, and I did not have to take the culture class again, and I could go directly to college. I was also lucky at that time, and I was assigned to Chang Li's class.
Tan Fei: Star Class Teacher.
Zhou Xianxin: Yes, she is more demanding, but she also loves her students very much. When I was about to graduate from college, she told me that I am more suitable for this industry, I can go a little longer, you can enter my graduate school, stay in Chinese opera, stay in Beijing, so that your acting career will continue. I listened to the teacher's words, and when I graduated from college, I began to prepare for graduate school, and then I was admitted to her graduate school, so that I was equivalent to two years of college, three years of graduate school, and a total of five years in Chinese opera.
Tan Fei: What prompted you to transform from a medical student to a student majoring in acting, is it the love in your heart or the various arrangements of fate?
Zhou Xianxin: I think the transformation during this period is quite complicated. I was a lover of literature and art myself, and although my father was a math teacher, he loved to play the accordion, and I grew up listening to my father play the accordion.
Tan Fei: Literary and artistic family.
Zhou Xianxin: My mother was also in the propaganda team that year, and she was a white-haired woman.
Tan Fei: Your mother was also very beautiful back then.
Zhou Xianxin: Yes, so I liked to sing and dance since I was a child, but my father was a high school math teacher, plus my grandparents were all scholars in this generation, so they asked me to study, and I also had to study science and engineering, so I was admitted to the medical university later.
Tan Fei: It's just raising you as a boy.
Zhou Xianxin: Yes, my real name is Zhou Zhitao, not Zhou Xianxin, wisdom of wisdom, tao of waves, until now my ID card is still Zhou Zhitao. I was really raised as a boy, studying science and engineering, and entering medical universities, but I may have been planting a seed of literature and art since I was a child. I was the minister of literature and art at the Chinese Western Medical University, and I had more opportunities to contact literature and art, and when I graduated from the Medical University, I participated in a beauty contest, and I was assigned to Guangzhou.
Tan Fei: At that time, I won the championship, right? "Beauty in the Flower City"?
Zhou Xianxin: Not called "Beauty in the Flower City", called "Miss Clarion", it is a Japanese clarion audio company, to choose a cultural ambassador in China, did not expect me to go all the way through the barrier, and finally won the championship of this competition. After going to Japan for cultural exchanges, all the travel expenses are your rewards, you don't have to pay, the program team takes you to Japan as a cultural ambassador, shoots advertisements, and does some cultural exchange activities on TV stations. During this process, I came into contact with a Japanese girl who was a graduate student in the department of Chinese at the Beijing Film Academy. She said to me at that time, she said I think your conditions are very good, why don't you go to Nortel and Chinese opera? I first heard about Nortel and China Opera at that time, did I say yes? Can you still take the exam? She said yes. Then after the end of the activity, I took a leave of absence with the unit and came to Beijing, it was just April, beijing Chinese opera college was enrolling, I directly signed up to take the exam, and then I transferred to this industry step by step.
Tan Fei: So in the process of this transformation, do you think you have gained more or lost more? If you have always chosen to practice medicine, you will also have a good income and a stable job. But as an actor, you have to be wandering around all the time, it will really be very tiring, and now that you think about it, do you think you chose the right one at that time?
Zhou Xianxin: I don't regret my choice, but calmly and rationally think, in fact, there are quite a lot of things lost, losing stability, losing a stable accumulation in the youth. Like my classmates at West China Medical University, they are now professors and directors of major departments, and they have already taken postdoctoral fellows when I go back this time.
Tan Fei: But Xianxin really reminds me of the school flowers in our college, which is particularly mysterious, rarely talks to boys, but has always been radiant, and is also the eternal goddess in many people's hearts.
Chow Hsien Hsin: Thank you.
Tan Fei: Very energetic.
Zhou Xianxin: I just stick to my pursuit.
Tan Fei: It's very tough and determined.
Zhou Xianxin: Yes, in fact, there will be a lot of bad things when you just switch to this industry. I'll just say the simplest point, we are all Chengdu people, usually speak Mandarin, but when you want to act in the camera, it will be a little unnatural.
Tan Fei: Trump is still a little different.
Zhou Xianxin: When I first came to study Chinese opera, I was particularly inferior, and I couldn't go on the stage at all, because I couldn't even speak my lines clearly, and I blushed as soon as I spoke, and at that time I knew that I was so far away from this industry. So I made up my mind that I must practice my lines, and in the Chinese drama for about three years, rain or shine, I practiced every day, so that I could slowly have the basic skills and confidence of an actor.
Two
Women are a soft color in the group of hot-blooded youth
Tan Fei: But your tenacity and steadfastness are indeed very admirable, for example, Gao Junman, who you played in "The Age of Awakening", is also a very tough and determined character, of course, you and Yu Hewei have formed a group called Manxiu Leidun, which is completely advertising. Of course, you are also very confident in it, including the details I just talked about, you have a lot of details in this play, although your play is not much, but every time you appear, it will be very impressive, because you have a lot of design in it. For example, take the kitchen utensils, very gentle words to people, very angry to greet the guests, because Chen Duxiu's living room, in fact, at that time the gathering place of the wind and clouds, all kinds of cattle characters. As the hostess of Chen Duxiu's living room, how did you design your own design at that time?
Zhou Xianxin: Let me first say that the Manxiu Lei Dun you just mentioned, because my role is called Gao Junman, plus Chen Duxiu in the play, so there is such a combination of Manxiu Lei Dun that netizens said. Another, when shaping this role, in fact, I think more important is the previous preparation, we and the director, including my own historical data, to the character's life, her experience, background, a detailed understanding, I will meet the director on the spot. I think the director's requirements are a core, an important key. He asked us to live in this place, like cooking, but fortunately I also cooked in my life, and I also had contact with children in my life.
Tan Fei: Yes, you are very good at cooking at first glance, and your movements are very skilled.
Zhou Xianxin: Because Sichuan people love to eat, I can also cook at home. Coupled with the fact that our scenes are very realistic, I can say that when the actors get to that place, they naturally have that feeling, this is your home.
Tan Fei: I also went to Hengdian to visit the class at that time, and the old ones were particularly real.
Zhou Xianxin: Including the props we used, I remember dusters like I dusted quilts, which are the shape of a Chinese knot, cooking utensils, knives, although not modern, but when I picked it up, I felt that it was from that era. There are also communication with children, communication with husbands, I think I am living in such an environment, the director said that we are people of an era, we have traveled through time and space, to this environment, living here.
Tan Fei: So for you, what was the scene that impressed you the most at that time? Because I watched several times, including his children did not understand Chen Duxiu, he gave him lotus leaves to wrap toads.
Zhou Xianxin: Yes, there was a very funny little embarrassment at the scene at that time, when Chen Duxiu was released from prison, we were all very touched together. In the last link, the son took a lotus leaf ox hoof from the kitchen to thank his father and express his love for his father. At the time of the first one, the expression on his face was already very in place, he was very serious, and the tears were hanging. But when he brought it out, he threw it on his toes, and everything was scattered on the ground. We were all ready to applaud, and then watched him fall to the ground, and Teacher Wei laughed badly, saying that the child was not easy, another one, another one, the child was really serious at that time, but because of an indiscretion, he fell there.
Tan Fei: Do you think that Gao Junman, in a very complicated family relationship, has any characteristics besides tenacity and tolerance? Because we all know that Chen Du's life is still quite complicated, he has been divorced several times, and the child born to the current wife is not a mother with the original, how do you deal with this relationship, how to reflect a sense of everyone's beauty, and it can't be too fake. How did you get some gratitude in the details?
Zhou Xianxin: I think it is possible to learn a point from the usual exchanges with Teacher Wei and the director, first of all, you are a person, you are a person living in this environment. Gao Junman is an intellectual woman who graduated from a normal university, and I think that as an intellectual woman, I should not go too far in this style, she is an ordinary person. The books she has read are all in her heart, the people she has experienced, her knowledgeable Dali, and her courtesy to people and things are all in her bones, don't deliberately do something. Playing this character has a difficulty for me, that is, I think there must be a guide from the mind, in addition to the life of the family, the lives of the children, in addition to the life of the family, the lives of the children, more importantly, she has to build ideologically. Because the husband is a revolutionary, he has his ideal of serving the country, and you have to support him. All the things related to him, whether it is his students or his friends, you have to support him, you have to understand him, including when he is arrested, you must also understand, the contradiction between Chen Qiaonian and Chen Yannian, as far as she is concerned, she is going to build.
Tan Fei: To coordinate.
Chow Hsien-hsin: Right. For some understandings of modern women, there will be some contradictions in the handling of this relationship. But Gao Junman, she is more special, on the one hand, she will build this relationship. On the other hand, she also has to make up for a loss in her heart. For these two children, she was their stepmother and their aunt. So in the play, why does the child call her aunt? Because these two children are the children of her half-sister, she also has to make up for the lack of feelings. Therefore, I think Gao Junman should grasp one point, that is, from the depths of her mind, she is really building a family, helping her husband to support his rear base camp, so I think there should be no complaints.
Tan Fei: Actually, I think Xianxin is also a bit like Gao Junman's very elegant feeling in his bones, and at the same time has a broad mind.
Tan Fei: You play a mother in this play, and you are also a mother in life, and you will also get along with your children, so what kind of help will such an experience bring to this play?
Zhou Xianxin: The experience in life is very helpful for my performance. When I was not yet married and had children, I probably just thought that the children were fun, cute, and willing to treat them kindly. However, when you really have a child, the feeling is different, the blood-thick affection between the mother and the child, the subtle feeling, I think it is indescribable, I believe that every mother will have this feeling. Maybe when I didn't have children before, I just saw children and thought it was cute, but when I had children, I couldn't see them hurting, I couldn't see them suffering, I would have a kind of love for all children, maybe this is motherhood. I feel that kind of love is selfless, protective of the child, it's motherhood, it's an instinct. So this thing will help me how to get along with the child in the play, for example, he is crying, I talk to him, I am a mother talking to him, how to talk to him, how to guide him? If there is no experience of being a mother, the communication with the child may not be so delicate, there is no bloody nature from the heart, and there may be less of this kind of thing.
Tan Fei: Your role in this play is still very heavy, because you are the woman behind Chen Duxiu. This play is the male protagonist, there are few female characters, you are even the female number one. So what do you think is a woman's role in the show? Because everyone sees more of the magnificent history of the founding party, how it was prepared before 1921, and what happened to lead to the acceleration of our process. How do you see the importance of a woman in this process?
Zhou Xianxin: If you look at the picture, from the style of the drama, I think she is like a color, she plays an embellishment role in it, the red flowers need green leaves, she will embellish this picture, there will be a feminine style in it. More importantly, I think she'll make this group of great men, this group of men more human.-like. Because any man in our life needs a family, a mother, a wife, and a sister and a sister are all in the family. Having a family atmosphere and having women in their care in life may make them more human-like.
Tan Fei: Let the picture have more fireworks.
Chow Hsien-hsin: Right. For example, there is a scene where the husband comes back and he doesn't want to eat, and I, as a wife, what do I say? Why don't you want to eat, you're not happy today, what's the matter? These are all details of life. With these things, the audience will feel that this man is a person in life, and he is also alive. As his object, my interactions with him will also live and move with each other. I think it's about making everyone more human. We are not going to make an empty, big, great slogan, but more to present this kind of life to everyone, let everyone go into life, have this sense of substitution, through the sense of substitution to believe in these people we have shaped.
Tan Fei: And this kind of scene can't be filmed in a straight line, it will always shoot the back scene forward, and shoot the front scene backward, how do you grasp this thing? This is actually quite difficult sometimes, because your emotions may be different, and the fullness is different.
Zhou Xianxin: I think the actor should have a kind of logical thinking, that is, when you read the script, you will break down the whole story, in a specific period of time, what kind of state is she? At this time, you have to be clear about what kind of environment her life experience is in. Including when you shoot upside down, another age group, what kind of state of mind you are, you just need to grasp this, put yourself in the shoes of the body, live in this.
Tan Fei: Empathy.
Chow Hsien-hsin: Right.
Tan Fei: There is empathy.
Zhou Xianxin: It is to be able to get close to her and possess her.
Tan Fei: You're also a doctor, so you're going to dissect every character too.
Zhou Xianxin: Yes, I actually studied science and engineering.
Tan Fei: So you are more rational and very logical.
Zhou Xianxin: Yes, I have a very rational aspect.
Tan Fei: Unlike there are a lot of actors, I have seen too many actresses, I think you are more special.
Chow Hsien Hsin: Thank you. I myself feel that this rationality is still necessary, but you can't be rational when you perform, and when you start to enter her life you have to become emotional. You have to perceive everything, even a prop, a spatula, a pot of melon seeds, it is the content of your life at this time, you feel them, communicate with them, communicate with your object. I think the hardest thing about my turn is also this, I'm not designing 123, not mechanically presenting 123, but living in it.
Tan Fei: This is difficult for you, because you were too logical and too step-by-step, 12345. Now to make you smash said, 74523 what do you do?
Zhou Xianxin: Or 37215.
Tan Fei: This may also be an expansion of a dimension for you.
Zhou Xianxin: Yes, I think it is a change in the way of thinking, maybe the thinking of science and engineering is a linear type, but it is divergent in art, it is a point, it can diverge a lot of things. You have to be at this point, good, ok, you stand, you just go to play, to feel. It's such a way of thinking.
Tan Fei: Speaking about Mr. Yu Hewei, I also know that he has made a lot of good scenes in recent years, including the recent "On the Cliff" that has also received rave reviews. Did you have anything particularly interesting about playing with him? Is there anything he doesn't know about?
Zhou Xianxin: First of all, I am not qualified to evaluate Teacher Hewei, who in my mind is also a teacher I particularly admire and admire. Watching Teacher Hewei's play, you will feel that this is a big actor, but in life he is like a child, especially cute.
Tan Fei: There is a childlike heart.
Zhou Xianxin: Very childlike, he and our crew are very harmonious, very peaceful. He understands drama, he knows how to make the drama very lifelike, very human, for example, he will design to eat melon seeds, eat peanuts, he will make this character become very agile, everything in life he will involve in the play, he knows the drama too well. He will also interact with other actors, when there is no play, everyone is eating together, I found that Yu Hewei is a person who pays special attention to logic, when eating, everyone plays the killing game, you may have also played, this is a test of people's thinking logic, you need to find clues according to what everyone says, and then analyze and judge. In the end, you determine whether he is a killer through logical relationships, and have you lied? Teacher Zhang Tong, who played Li Dazhao, was recognized by us in the process of playing, and then he still said that I am not a killer, but in fact, we all recognized him, and I laughed next to him. Then Teacher Yu Hewei pointed at me and said, Xianxin, you have seen it, you see you laughing like that. He said that in fact, this game is quite a logical relationship of people, I feel that he is also the kind of actor who can eat through logic, I will describe it more simply, he is an actor who eats people, he eats all the roles into it, eats thoroughly.
Tan Fei: And there is a sense of both right and evil in his performance, that is, you can never judge his identity. So I sent him a WeChat message that day, and I said that you showed Chen Duxiu's kind of foxy spirit very well.
Zhou Xianxin: Yes, the qi of The Fox.
Tan Fei: But he is crazy with logic, he is crazy, and within the madness there is one of his behavioral logics, there is one of his values, which he holds very accurately, so what he plays is generally on the edge of human nature. Including "On the Cliff".
Zhou Xianxin: Yes, I think he has not only eaten this character thoroughly from the point of view, but he is also at ease in all aspects of his skills, he can let him walk on the edge, he can also let him walk in the middle.
Tan Fei: He can handle it very well.
Zhou Xianxin: Yes, this realm is not something that ordinary actors can achieve.
Tan Fei: So, you still have to learn from him.
Zhou Xianxin: Of course, when can I act like What is like Teacher Yu and Wei, it will be really cattle.
Three
The happiness of the family is the reward for her understanding of life
Tan Fei: It's really hard. Audiences who have watched "The Age of Awakening" have said that the woman behind the great man is difficult, so you are now an actor, you have a family, and sometimes you can't accompany your family, does this life mode bother you? Because I talked to Zhu Yuanyuan two days ago, she said that her work is to follow her daughter's studies is a rhythm, so what kind of planning do you have for your life and career? What kind of ingredient is family for you?
Zhou Xianxin: Family is definitely very important, I think the most important destination in this life is the family, and only with a home can there be a job. My husband and I are peers, he is a producer, so he understands my work better, whenever I have a job, he will be particularly supportive of me, he will sacrifice his time at home to help take care of the children, and then the family and grandma, aunt will come to help, so for me, there is no special deliberate statement that it must be during the holidays or when I can go out, but whenever there is a job, the family will understand and support me.
Tan Fei: Then you are still quite powerful.
Zhou Xianxin: I'm very lucky.
Tan Fei: Just like Zhu Yuanyuan said, she and Xin Baiqing are divided into divisions, one time he is busy, one is busy, the two must have someone at home.
Zhou Xianxin: Yes, because the actor's job is that once you get on the set, you can't take care of your family, and my husband is doing behind-the-scenes work, which is relatively easy to deploy.
Tan Fei: Did you think about your spouse's career when you picked a partner?
Zhou Xianxin: I thought about it.
Tan Fei: I remember that many actors didn't want to find insiders.
Zhou Xianxin: I was like this before, because I studied science and engineering, and I didn't believe that this circle could be so stable. But when I met my husband, I felt like he could give me that sense of conviction and security. Later, I also felt that there is indeed an advantage in finding peers, that is, two people have a common language, there is no obstacle to communication, everyone works together, communicates, aesthetics are on a level, I think there will be a lot of fun, just like soul mates.
Tan Fei: So finding peers also has its benefits.
Chow Hsien Hsin: Yes.
Tan Fei: Everything is a double-edged sword, and some people say that insiders are also good in circles, because he may understand you better.
Zhou Xianxin: Yes, he can understand me, and your play like ours may sometimes involve some intimate scenes with male actors.
Tan Fei: This is a big test.
Zhou Xianxin: Yes, in fact, in this play, I had a kiss scene with Teacher Yu Hewei, which may not have been presented in the end.
Tan Fei: Later cut it off.
Zhou Xianxin: Cut it off. But I sometimes ask my husband if he minds? He said he didn't mind, actors you have to work like this, don't work like this I want to criticize you, he can understand.
Tan Fei: That's really good, and now many people really can't accept it.
Chow Hsien-hsin: Yes, so he's okay.
Tan Fei: But I did see some netizens commenting that you are one of the actors with cold body, I also talked to Li Yitong, and I also had an evaluation of her, she is particularly cold, that is, the kind of acting skills are superb, but lack of high recognition, what do you think of this evaluation? Will it affect your mindset when performing?
Zhou Xianxin: I don't think it will affect me, and I will accept the audience's evaluation with an open mind, but what is more important is to be determined that I am an actor who relies on his works to take a career path. Maybe I don't know too much about the specific meaning of the word body cold.
Tan Fei: Body cold is the current Internet language, probably means that it is not very popular, although it has been acting, but the person who is with your partner is very popular, but you yourself are not red.
Zhou Xianxin: It may be like this, but I have to dissect this by myself, I think more or your work has not reached a height, the accumulation of roles along the way is not enough, as far as I am concerned, my understanding is indeed not enough. From studying medicine to the industry is less than 20 years, there is still some time in the middle may have children and get married, a lot of time without filming delays, my accumulation is not enough, everything changes from quantity to quality. My ultimate goal is to hope that I can have a work that can be taken out of my hand and is really and essentially recognized by the audience, which shows that you have not yet accepted that kind of work to be accepted and recognized by the audience.
Tan Fei: If you can make a play like "The Age of Awakening" every two years, you will be deeply rooted in the hearts of the people.
Zhou Xianxin: Yes, this also depends on fate and fate, maybe the actors all hope to meet a good play, but they may not be able to meet it.
Tan Fei: Let's go back to your former label, Xiao Gongli, I think it may also be a double-edged sword, and it was helpful for your popularity or influence at that time. But now looking at this label will become a constraint for you, how do you see the labeling of such an actor? What do you think of such a title as Xiao Gongli?
Zhou Xianxin: At that time, everyone may pay attention to you because of this label, since they are concerned about you, they will naturally look at this label, and there may be a contrast between the two, from all aspects of the work, I must be far from Gong Li's sister. From my heart, from my ideological pursuit, I still want to become a big actor, I still work this road, maybe the role is not big, the drama is not much, but little by little accumulation. Including possible drama on the drama stage or something, I hope that through various accumulations, one day there will be a good work, and then one by one to accumulate, to become a good actor that I can identify with myself. I think this is enough, because people really can't be completely compared, then compare myself with myself, as long as I am still improving, as long as I am still on the road, I think it is quite good.
Tan Fei: This label is given by others or given by the outside media, but I still have a particularly clear goal in my heart.
Zhou Xianxin: Yes, I am Zhou Xianxin, I am such an actor, I should also be regarded as a serious and dedicated actor, I will continue to stick to this road, and walk this road steadily.
Tan Fei: Did you change the name and find a master to calculate it?
Zhou Xianxin: Yes, it has been calculated.
Tan Fei: Originally, his name was Zhou Zhitao.
Zhou Xianxin: Yes, that name is too masculine.
Tan Fei: A lot of people will ask who the actor is.
Zhou Xianxin: It turned out that when I was in the medical university, I was assigned to the men's dormitory.
Tan Fei: Boys are very happy, such a big beauty.
Zhou Xianxin: Who is Zhou Zhitao? I am. The result was later changed to this industry, thinking that the actress still found a name that was more in line with herself, so I calculated my own eight characters and five lines and gave such a name.
Tan Fei: Xianxin is particularly feminine.
Zhou Xianxin: Yes, it is more feminine, more juanxiu.
Four
Try to explore the possibilities of creating different characters yourself
Tan Fei: You have acted in many film and television dramas in the past, such as "Fog Willow Town", "The City Family" and so on, which have won many awards. So so far, which of the roles you have played has touched you the most?
Zhou Xianxin: In fact, many roles have places that are more suitable for themselves, like Chen Qiong in the movie "College Entrance Examination 1977", a female Zhiqing, including Gao Junman who is now playing Gao Junman and myself, there are many very similar places, I think the most unlikely and most challenging is the low-intelligence middle-aged woman in "That City Family", she is 50 years old, but she only has 5-year-old intelligence.
Tan Fei: This is very difficult to act.
Zhou Xianxin: She wants to act like a child, but at the same time she is because of the physical disability after the vegetative person wakes up, the head is not stopping to twitch, she is a disabled woman with low intelligence. When playing this role, I felt that it was challenging for me, but I was also grateful that I was a medical student, my classmate worked in the Beijing Geriatric Hospital, and I observed it for several days through him going to the intellectual disability department of their geriatric hospital, and then created such a character image in this play, I think she is an expansion of my career. In the future, I will play such a role again, and I feel that I am not afraid of this aspect. Therefore, this performance is a pioneering, and the impression is also particularly impressive, because the whole shooting process must always maintain the state of limb disability.
Tan Fei: Is it that after the performance, you can't get out of the role at once, because of muscle memory?
Zhou Xianxin: Yes, the muscles have been pumping non-stop, when I was filming, Teacher Li Jianyi said that the child you acted is quite similar, but I am worried that you will not be able to go back after you have acted, you don't have to do this all the time.
Tan Fei: So you think this kind of modeling may be both a challenge for the actor, and it may also be a particularly big impact, which makes you particularly addicted.
Zhou Xianxin: It is an accumulation, I think people are like this, maybe actors are even more so, you will explore yourself. Maybe after encountering something, you cross it, you experience it, and there will be something left on you, which is an exploration, an exploration of the self. If I didn't play this role, I wouldn't have thought that I could play this role, that I could control her.
Tan Fei: Sometimes I also go to some cameo roles, I think the most enjoyable thing is to let the boundaries of your humanity continue to expand, you are particularly right, maybe that person's life will never be able to live, but I can complete in the role, this is too addictive, this is not to give me much remuneration, I think this thing cattle, wonderful, fun.
Zhou Xianxin: Yes, in real life, we are ourselves, and no one will think that I want to do this thing like this, or I want to do that thing in that way, how comfortable you are. But you can't create a character like this, you have to follow the way the character is, this is what you have to think about, you have to grind yourself.
Tan Fei: So this kind of love for acting is really easy for an actor to produce, and now you have become a small expert in this area.
Zhou Xianxin: Fortunately, there are some ways and means of learning, like the recent drama, I played a poverty alleviation cadre.
Tan Fei: Poverty alleviation cadres.
Tan Fei: First time acting?
Zhou Xianxin: Yes, the first time I played poverty alleviation, it was a poverty alleviation cadre on the drama stage, but she is a real prototype, and I will go to see a lot of materials in this regard, and even go to see how the local poverty alleviation cadres work, how to fight with farmers, how to teach them, find some of these things on them, and then learn from them myself.
Tan Fei: But why did you really stand firm on the drama stage after acting in "College Entrance Examination 1977", and would you lose touch with many film and television characters?
Chow Hsien-hsin: Yes.
Tan Fei: Why do you have such a firm belief in acting in drama?
Zhou Xianxin: I think it may have something to do with my study of medicine and change careers, first, our thinking in science and engineering is more stable, I want to do this thing, I want to do it well.
Tan Fei: See a plan, right?
Zhou Xianxin: Yes, there is a detailed plan. Maybe I have some drama in front of me, but I can perceive where my ability is, for example, this operation I am definitely not enough, I can only be a second assistant, I can not be the main surgeon, I need to go through. So, I will think about my current ability, I am not a character actor, I am still a natural actor, how can I become a character actor, I have to learn, to accumulate, so I will ask myself to exercise on the stage. In fact, actors are like flour, you may have a lot of good places, but you really need to knead on the stage, like flour kneading into dough is a process. Your limbs, lines, eyes, actions, shapes, everything on the stage is exposed, in such a situation, how to make yourself more three-dimensional and multi-dimensional natural to present the role, but also more in place, this needs to be experienced. So I told myself that I lacked stage experience, I lacked stage skills, and I had to exercise. So after the end of "College Entrance Examination 1977", the director introduced me to the Shanghai Drama Center, and performed more than 100 plays with Teacher Lu Liang and Teacher Zhou Yemang, and now I myself am also in the unit drama group, as long as there is a drama for me to perform, I will perform.
Tan Fei: Because of the drama, it is facing the direct reaction of the audience, and you will find it very enjoyable.
Zhou Xianxin: I really think this accumulation is very magical. Maybe today when the audience is not very much, you obviously feel that the audience's breath aura and your interaction is less, you will accumulate a little less, of course, you may rehearse very well, you will still act like this. But suddenly one day there is a lot of audience, you have a small detail on the stage, the audience has a feedback, you hear a little feedback, you will be more fully involved in this, you mobilize all the things that can be mobilized in yourself, and the rolling, interaction, and accumulation of the audience's breath are very enjoyable, especially good.
Tan Fei: There is also a sense of happiness.
Tan Fei: As you said just now, you just finished the performance of the drama "Love helan" and played a poverty alleviation cadre Guo Minlan, what is the biggest feeling for you in this drama? Is there new inspiration and understanding?
Zhou Xianxin: Through this drama, I really think that we Chinese people are still quite happy. Because such a poverty alleviation cadre is real, she is really going deep into the lives of the people, thinking about them, and finally dedicating her life, she is completely involved in the lives of the people, to put herself in their shoes. As a cadre, how to overcome various problems, this kind of problem is all aspects, physical, spiritual, she will overcome. Through this role, I really learned that the kind of grassroots poverty alleviation cadres around us work in this way, they are actually not easy, you have not been in contact with them before, you can't imagine, the poverty alleviation cadres are going to the countryside to investigate and guide them, but in fact, it is not, they are really living with the people, working with them, and then they are angry, and they have to fight with them, and her life is also all-round. So I think I learned about the mentality of a grassroots poverty alleviation cadre, how does she work, and what is her belief? At the same time, she is a member of the Communist Party, so I also learned about a party member cadre, she is in the party member system, how did she build this sense of faith? I think this is very helpful, at least if I play the poverty alleviation cadre again, I know where that point in her is.
Five
Before a character is successfully shaped, he is first and foremost a person
Tan Fei: We know that there are a lot of small episodes in drama performances that suddenly appear on the spot, have you ever encountered them, because you have performed hundreds of times, there will definitely be times when you forget the words or do not go right on the stage. How did you react to it at that time and share it with the audience?
Zhou Xianxin: In fact, when you are acting, you have already been on this character and all the scheduling, the lines have been flowing, very skilled, after the emergence of special circumstances, you may be like this person in the play, to deal with life, just like the two of us drinking water This cup fell off, I immediately picked it up, normal processing can be.
Tan Fei: Naturally.
Zhou Xianxin: There are not many such small accidents that I myself have encountered, but I think there is a teaching model, a scene of Teacher Lu Liang, when we performed "Unexpected Visitor".
Tan Fei: Lü Liang is an old actor in Shanghai drama.
Zhou Xianxin: The old actor is very powerful. He had a little detail, the housekeeper in that play had a key, and he took it every day, and the two of them were having an unpleasant quarrel, and he loosened his hand, and the key fell, and he was going to catch the key and take the key to open the cabinet where the gun was hidden. As a result, the housekeeper key was loose that day, did not catch the key, the key fell into the crack of our floor, the buckle could not be buckled, you can not cut it on the stage, very embarrassing. But this is an important prop, the key is to be taken to open the cabinet in the back, and the lines must be changed immediately. As a result, Teacher Lu Liang couldn't pick it up when he saw that the key had fallen into the crack of the floor, so he changed his lines. It turned out that I would go and open the cabinet now, and his line became, it seems that tonight we have to smash the cabinet open, and then turn around and leave, all of us on the scene are particularly obedient to him, his change is very humorous, but it is very in line with the plot.
Tan Fei: Did the audience also burst into applause?
Tan Fei: The audience may also see it.
Zhou Xianxin: But the audience also feels that it is very consistent with the plot.
Tan Fei: I thought it was deliberately arranged.
Zhou Xianxin: Yes, he was transformed on the spot, I was very impressed, I really admired them.
Tan Fei: This kind of drama is really very exercised in the performance of the actors, especially the kind of on-the-spot play. Including Yu Hewei, there is also a deep accumulation in this regard, there are many directors I am familiar with, they say that Yu Hewei is typical, belongs to no book, he can also make up a set, he gives you to play.
Tan Fei: "On the Cliff" is that he and Yu Haolei have a scene that they left a check mark on the column table of the movie theater trailer, that is, they made it on the spot, and that scene was not made up by Zhang Yimou.
Zhou Xianxin: Because I also went to see Teacher Hewei's screening, I was particularly impressed by this scene at that time, because after he came back, the person went to see it again, watched Teacher Jin played by Yu Haolei, and then came back. The conversation between the two of them was wonderful.
Tan Fei: Then he said I was the Communist Party, and the aura suddenly changed, and finally he said look.
Zhou Xianxin: Yes, I am the Communist Party, do you see it, what do you see? You don't see it, that shows your ability to observe, you see it, it shows that you are qualified.
Tan Fei: His action reaction is very consistent with the feeling of the scene.
Zhou Xianxin: Yes, very exciting.
Tan Fei: Does "Awakening" also have some?
Zhou Xianxin: There are many such scenes.
Tan Fei: Let me give you an example.
Zhou Xianxin: First of all, in the case of Teacher Hewei, there was a scene of fried peanuts, and in that scene, our two sons quarreled with their father and were going to leave, and the next day their father wanted to send them away. After stopping, he designed a scene, that is, I was preparing to fry peanuts on the kitchen stove, he personally came to fry the child, and then asked me to take the pumpkin seeds and fry them together, the boss likes to eat the fried pumpkin seeds, which is the father's meticulous observation and love for his son. This is the play he designed, he played on the spot, and I admire him very much.
Tan Fei: Yes, he does use a lot of melon seeds in this play. He used to eat melon seeds on an occasion.
Zhou Xianxin: Eat peanuts, eat melon seeds.
Tan Fei: He has a lot of this kind of drama.
Chow Hsien-hsin: Right. This may be his design.
Tan Fei: Design to show the human side.
Zhou Xianxin: Yes, he lives a lot.
Tan Fei: To show the ordinary side.
Zhou Xianxin: Yes, so the audience will like it very much.
Tan Fei: In fact, the training and tempering of actors in dramas is really very deep.
Chow Hsien Hsin: Yes. I think it's really like kneading dough, you have an ability to shape this kind of character image, but when you don't knead it, you can't knead a human figure, it requires this process, it's more comprehensive.
Tan Fei: Now the main theme of the film is more and more recognized by the sinking market, what conditions do you think need to be in place to play the main theme of the film? Or the main theme of the TV series, how to make these heroes resonate with the audience? What inspired you yourself?
Zhou Xianxin: I think it is still the basic point we just talked about, he is first of all a person. I have read an article by Teacher Liu Heping, he said that when writing a script, we should first start from the writer, and first do not design the plot. Because different people, different mentalities, different reactions, then first of all you have to be this person, you are a great person, you are also a person, you have to live, you have to live in life. Eat and drink Lazar, human affection, you have to have it, you have to be like a person. So I think the main theme of the movie is first of all to talk about people, he is a great man, a bad person, you have to be a person first, first to live, and then as a character, his personality characteristics are under this background of life, and then depicted.
Tan Fei: If this person stands up, the audience will love it.
Zhou Xianxin: Yes, first be like a person, don't just say lines, but talk about people.
Tan Fei: It's too important to talk about people, the audience all love to talk about people, such as "Mountains and Seas", right?
Tan Fei: Even the more earthy the lines, the better, the more dialects the better.
Zhou Xianxin: Yes, the audience is also more and more accepting of this aesthetic standard and height, you first have to be like a person, you don't just give me lines, say it makes people feel empty, there is no sense of substitution, so I think this is an unchanging principle.
Tan Fei: What is the next work plan for Xianxin to share with you.
Zhou Xianxin: Next there may be two scenes, two TV series, and some small films in between.
Tan Fei: Is it the main theme of the TV series, or is there also a commercial TV series?
Zhou Xianxin: Overall is the main theme, I think our environment is now beginning to return to the main theme, everyone's positive energy spirit to glow up, I see that the current post-90s, post-00s are particularly patriotic, very pink, very pink, not so reject the main melody, in fact, the main melody can also be very good-looking, and it spreads truth, goodness and beauty, spreads positive energy. Everyone in this, if our actor plays a very lifely, very much like this person, I think it is still good-looking.
Tan Fei: The drama still has to continue to be performed.
Zhou Xianxin: Yes, or acting, I may soon shoot a poetry drama of our unit, called "Blood Fertile China", which is also a relatively main theme.
Tan Fei: I heard that your husband's task of caring for children may be heavier.
Tan Fei: Now this trip is quite full.
Zhou Xianxin: Fortunately, as long as I don't shoot in the middle, I will go home immediately.
Tan Fei: How has your husband's own work performance in recent years been?
Zhou Xianxin: He is the master of his own. He will adjust, for example, the adjustment of the script, he may have his partner, colleagues, they come together to grasp, he may be at home to get this thing done. Unless he is filming on the spot, he must go, this scene is turned on, he is going to the scene, he has no way, and it is still ok to deploy.
Tan Fei: I feel that Xianxin is a very happy feeling, a winner in life. Now I encounter a lot of works that you may like, and the works that the audience also likes, which may be the greatest happiness of being an actor, and it is not worthwhile for you to study medicine for five years, and then transform into acting, really, I feel that I have made great efforts and sacrifices. Or congratulations to Xianxin, I hope there will be more good works in the future.
Zhou Xianxin: Okay, keep working hard and work hand in hand with Teacher Tan, thank you.
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