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Beijing, October 15 (Xinhuanet) -- Actor Yang Lixin has portrayed many characters that have impressed the audience, such as Jia Zhiguo in "I Love My Home", Hu Yandong in "Half Side Building", Water Secretary in "Big River", Gu Jia's father in "Thirty Only", etc. He is also the protagonist of Beijing people's art dramas such as "Tea House", "Thunderstorm", "The First Floor of the World" and so on. Today's Xinhua interview specially invited this "old drama bone" to talk about how to be a good actor, and listen to what he thinks of phenomena such as "rice circles" and "top streams".
The following is a transcript of the interview:
<b>Xinhua Net: What was your original intention as an actor? </b>
Yang Lixin: My original intention as an actor was to find a job, I thought it was just a job, and then I found that this job is so interesting, I can devote my life, and I will continue to work hard for it in this life.
When I entered Beijing Renyi in 1975, there was a "small tofu block" in the newspaper, saying that the Beijing Repertory Theatre was recruiting students, so I went to apply for the exam. After I was admitted, I began to study in the process of practice, and I had not seen a serious drama before that.
Drama is a life-like performance, how to live on the stage? The stage is originally fake, the set, the props are fake, when filming the TV series, you need a tank of water, the live props have a real water tank there, the stage is not OK, the water tank on the stage must be made of paper, scooping water from the paper paste water tank can not be true, you have to let the audience feel that it is really scooping water through the actors, so the life on the stage is acted out, not really life.
<b>Xinhua Net: When you were young, did you ever think about "red" faster? </b>
<b>Yang Lixin:</b> When I first entered the industry, I first played a very small role on the stage, or even only one cutscene, also called running dragon sets. Seeing That, Zhu Lin, Diao Guangqin, and Tong Chao standing in the middle of the stage, if someone asks me, one day you will also stand there, I will say: I'm sorry, the later this day comes, the better, wait for me to practice for another 20 years.
Now I think it should be the same way, you just see the brilliance of them standing in the middle, but you don't see the ability they have in the middle of the stage. This is where stage performing arts differ from other performing arts, and in the middle is the "scary" position. Isn't it beautiful that I can stand by and watch a play and participate in another performance? Why do you have to get to that position as soon as possible? Every role you play and every work you create has an artistic content, not a process of casual play, only in this way can it meet the expectations of the audience.
<b>Xinhua Net: How do you view the current "rice circle phenomenon"? </b>
<b>Yang Lixin:</b> Artists are also ordinary people, why did they become stars? I don't quite understand this either. The old artists of Beijing Renyi, So Zhi, Lin Liankun, Zhu Xu, they ride bicycles to rehearse, you see they are just an ordinary person, and when they appear on the stage one day when they perform, they are brilliant. After coming down, you may meet him in the non-food store and go to buy meat and wine. Such an actor is a real actor, and the character he creates is unimaginable to you, and you don't recognize the person who once was brilliant on the stage.
You're on stage, you're on camera, the audience is sitting offstage, on the other side of the screen, you're on the screen, and that's the difference between careers, not because of how capable you are. Conversely, the audience is all people who look at you, people who evaluate you.
Our plays are tickets that the audience pays for one by one. Today, if you don't act well, if you don't attract people, the performance is very fake, the audience will stand up and walk, and if it is worse, the audience will go out and say, "That play can't be watched, how can such an actor be on stage, how can he be qualified to go on stage." "Even the audience can really refund the ticket."
Two and a half hours to make the audience watch with interest, or laugh or burst into tears, this is a difficult thing. Everyone who is engaged in this work should be like walking on thin ice, like approaching the abyss, and only when everyone has such a mentality to ask for their own performances can they create those plays that the audience pursues and queues up to buy tickets.
<b>Xinhua Net: What should the occupation requirements of a literary and art worker be? </b>
<b>Yang Lixin:</b> A society must have culture and art, and if there is culture and art, there will be practitioners of culture and art. Literary and artistic workers should be people who have the ability and skill to engage in this art. It's a lifetime, not a bunch of it. To take a long-term view of this problem, whether on stage or on the screen, you have to be a little artistic to be called a literary and artistic worker.
I think each of us should pat ourselves on the chest, think about whether we have met the standards required by the profession, and what kind of eyes will the audience look at you when the work is played in the future? Are the characters you create credible? The audience sees what level of person you are. It is easy to be famous when standing in front of everyone, but it may also be the most likely to fail, so people should be low-key and work hard.
<b>Xinhua Net: Your son Yang Jiu is now also a young actor, what advice do you have for young actors? </b>
<b>Yang Lixin:</b> When my son wanted to study drama, I advised him not to take this step if he was not mentally prepared, once you choose a career, you should do a good job not only as an "actor", being a person is the most basic, you must be worthy of your life, and you must contribute to society.
Any parent would want their child to be able to achieve results, and the sooner and sooner the better, because he can build self-confidence and can continue to have greater grades. The biggest danger of the actor's profession is that once he has achievements, he will be famous, and once he is famous and advantageous, he will easily not be able to grasp himself.
Actors who hope to engage in this industry, loved by the audience, should have a responsibility to guard the morality of your profession, maintain the ability to explore, create, and create non-stop, and should be a practitioner who adds glory to the industry, rather than smearing the industry.
Executive Producer: Zhu Yonglei Qiu Xiaomin
Planner: Li Yu
Interview: Zhang Jingyao
Camera: Liu Xia, Chen Jie
Editing: Chen Zheng