In recent years, a popular word is called "explosive acting", which is used to describe the sudden explosion of emotions of actors, or the sudden reversal of human settings, forming a strong contrast before and after.
Full of emotions, distorted expressions, and roaring voices can often quickly catch people's eyes.
But this kind of open and closed performance, once there is no certainty, will be too late.
He Bing, the old drama bone, once talked about a similar phenomenon:
"The biggest minefield for actors today is to spill dog blood on the main play, and the actors act with tears, excitement, incoherence, and over time, you will rely on this emotion." 」
A really good performance is close to life, presented to the audience in an extremely natural way, and this presentation is not directly to the answer, but to a calculation, through a series of actions to let the audience understand and touch.
There are not many actors who can achieve this realm, and some actors often use too much force and are extremely embarrassed in the performance process.
Combined with so many years of experience in chasing film and television dramas, The girl found out the 8 actors who "looked at the explosion of acting skills on the surface, but in fact used too much force" to see where they did not grasp the right balance.
First: Ren Suxi | "1942" fragment
From "Donkey Got Water" to "The Unknown Generation", Ren Suxi is a recognized acting school, and she has a strong vitality in her, which is very moving in interpreting the fate and struggle of small people.
Some people say that Ren Suxi is an experiential actor, and when she arrives at that scene, the response she gives is the most real feeling that comes with the subconscious, and the truth often has the most powerful appeal.
In the process of performance, this kind of actor can quickly replace the audience with her role, and can also mobilize the atmosphere and rhythm of the whole scene.
But the disadvantage of an actor who exerts power is that he either ignores the details or gives too much.
In "I Am an Actor Season 2", Ren Suxi and Zuo Xiaoqing collaborated on a clip from the movie "1942".
Compared with Zuo Xiaoqing, who was introverted and calm, Ren Suxi's excessive force was particularly obvious.
Zuo Xiaoqing appeared gasping for breath, hunched over his back, crying without tears, and speaking weakly, in line with the image of a desperate mother experiencing famine.
Ren Suxi, playing Hua Zhi, fled from northern Henan and walked for more than a month, experiencing wind and dust and lack of food along the way, but her whole person's spirit is very full, and her voice is also very loud.
In the embodiment of maternal love, Zuo Xiaoqing is delicate and nuanced, when she has to sell her child for millet, her body language and expression are full of heart-wrenching and helplessness, when the businessman takes out millet, she subconsciously picks it up, but she still looks at her young daughter.
Watching the merchant take the child away, also as a mother, Hua Zhi had tears in her eyes, this treatment was correct, it was an instinctive reaction of a mother, but Ren Suxi had no more details.
The daughter was hungry to the point that her eyes were blurred, Huazhi used to pick her up, in the face of the sick child, Ren Suxi hugged very rudely, there was no tenderness to the child, no wonder the tutor said that she knew that she had not been a mother.
When the child was dying, Zuo Xiaoqing chewed up the millet and fed it to the child's mouth, and constantly stroked her body to help her swallow, but Ren Suxi was beating the child, while shouting "Look at me", as if the child was her prop, not a blood relative.
Comparing Zuo Xiaoqing and Ren Suxi together, it is not that Ren Suxi's performance is not good, but Zuo Xiaoqing's emotions are used more, Ren Suxi's skills are used more, the emotions will be more delicate, and the lack of warmth with skills can be combined, and if the two can be combined, it is another realm of performance.
Second place: Lan Yingying | "North and South"
When Lan Yingying participated in "Sister Riding the Wind and Waves", she caught fire on her own "wolf nature".
The so-called wolf nature is to be particularly desperate, special to work hard, especially strong, not only to kill peers, but also to kill laymen.
In the first stage debut, he obviously studied acting, but he won the first place in the whole field by singing and dancing.
In terms of acting, she has never conceded defeat. From Huanbi to Shangqinqin, her performance is textbook level, tears when it is time to cry, and introverted when it is time to be introverted.
The successful characters that Lan Yingying has created are often very similar to her own characteristics, not afraid of the world, not afraid of rumors, and open-mindedly control her own destiny.
Such a blue Yingying is particularly brilliant in the position of supporting roles, and if it is the protagonist, it is inevitable to use too much force.
In "North and South", Lan Yingying played the outgoing and cheerful eighteen-line actor Bao Xue, who was spat on by netizens for his exaggerated acting skills and was too lively.
And grandma to spoil, pouting cute, forced tender, good character is also a person of fast 30, even if the petite is not this kind of pampering.
Playing and playing with the little sisters, her whole body is "drama", and her expression and movements are exaggerated to the point of being like a monkey.
Even if you drink a soup, don't forget to keep your mouth high.
When impatient, her play is also enough.
It can be seen that Lan Yingying wants to show the unrestrained personality of the character, but she must also pay attention to the occasion and maintain a measure, otherwise she will act as a fool.
Without too much body language, no sinister expression, she looked like a normal person, even if it was just a lonely look, you could see her heartache for her sisters and pity for herself.
Lan Yingying is not a talented actor, but she can make up for her clumsiness, and her tenacity will inevitably become more and more courageous, and if she can meet several good scripts, she will also make people shine.
Third place: Liu Tao| "Ode to Joy", "The Legend of Mi Yue"
As a non-science actor, Liu Tao's acting skills are in the middle and upper reaches.
Her representative works are also many, from the early "Foreign Daughter-in-law Local Lang" and "Tianlong Babu" to "Langya List" and "Ode to Joy".
From supporting roles to big heroines, Liu Tao's acting path is growing rapidly.
However, in recent years, she has been remembered by the public for very few roles, because her energy has been scattered to variety shows and live broadcasts.
Obviously, Liu Tao's ambitions are not only actors, she wants to be an all-round artist.
Feng Xiaogang once said: "Actors cross borders, there are more reality shows, and the harm to the performance is too great." The audience is too familiar with you, and acting has no texture. ”
It is true that Liu Tao's acting career is on the decline, and this year's short ten minutes of scenes in "The Beginning" were scolded on the hot search.
Looking back at her previous works, from "The Legend of Mi Yue" to "Ode to Joy", the traces of her excessive force are still very clear.
In "The Legend of Mi Yue", Liu Tao played the gradually blackened Mi Shu, which is a rare villain role she has played.
When Mi Shu was still a princess in the Chu Kingdom, that kind of dignified and virtuous Lady, Liu Tao portrayed it very vividly.
What makes the audience play is that after Mi Shu experienced a harem battle in the Qin Palace, her inner demons were released, and jealousy, control, and insecurity made her gradually go crazy.
Such a complex role, Liu Tao played like a bluff "paper tiger".
When forcing Lady Win to take out her will, Mrs. Win sat there calmly, without too much expression, and only by looking at her eyes and lines.
In order to scare Lady Win, Mi Shu stared at her eyes and cooperated with exaggerated gestures, obviously feeling that Liu Tao was just performing anger, and the skill was there, but the emotions were not full enough.
After Mi Shu realized that she had been betrayed, her feelings of grief and chagrin were right, but Liu Tao gave too much, so that her eyes were so vicious that she couldn't even speak her lines clearly.
In "Ode to Joy", Liu Tao plays and the workplace elite Andy, which also gives people the feeling of being too hard.
First of all, physically, she has been holding it, looking stiff and depressed.
After meeting with his biological father, learning the truth of his own life, years of resentment broke out, and Liu Tao was like crazy when he interpreted this explosive power.
Liu Tao's resources are very good, and his acting skills are also there, but when playing conflicting scenes, it is easy to not be able to stop it and become an emoji.
Fourth place: Monday Wei | "Entrepreneurial Times"
Monday Wei is the champion of the first season of the competitive variety show "I Am an Actor", and Zhang Ziyi of the mentor seat praised him:
"He's the look of a big boy, tall enough, good enough, a very imaginative face, Monday Wai is particularly calm, but when it comes to the role, he becomes a different person!"
Zhou Wei is not a popular actor, but his works are convincing, such as "Embroidered Spring Knife", "Red", "I Am Not a Medicine God" and so on.
The innate talent and aura, the penetrating voice, and the deep line skills have given Monday a place in the show business circle.
Talented people are often prone to overestimate themselves, and once the sense of superiority of "invincible under the heavens" in their hearts comes out, if they are not curbed, they are easy to float to the sky and cannot be pulled back.
Acting is the same way, the actor needs to have skills and emotions, but also the actor needs to be sincere.
In "The Age of Entrepreneurship", Zhou Wei plays an ambitious, unscrupulous entrepreneur, in order to highlight the sinister characteristics of the character, the way he interprets the role is to use exaggerated limbs and expressions, so that many viewers spit "greasy".
When clashing with his boss, in order to show an open-minded counterattack, he stared at his eyes and undressed haphazardly, and it was normal for people to behave in a panic when they were angry, but it was illogical to become a madman.
Even if he was drinking with friends, he wrote "contrived" all over his body, and the way he said his lines at a glance seemed to be acting on a stage play.
On the first day of entrepreneurship to the employees of the meeting, dancing with their hands, the words are round, very inflammatory, if you encounter such a boss in reality, everyone is estimated to think that they have entered a pyramid scheme company.
When discussing work with employees, it looks like they are going to eat people.
After removing the exaggerated limbs and expressions, Zhou Wei's acting skills are more convincing and closer to life.
The play "Entrepreneurial Times" itself is very bad, but it is one thing for the script to be bad, and it is another thing for the acting skills to be pompous.
Monday wei should still be down-to-earth, do not be blindly touted by the outside world and lose the original intention of being an actor.
Fifth place: Kim Se-| "River God 2"
Five "Love Apartment", Jin Shijia participated in four, although the drama has now fallen to the altar, he still borrowed its aura.
Jin Shijia ran to Osaka to study at the most popular time, and after several years of training, he bid farewell to his youthful acting skills and turned into a powerful actor, thus having masterpieces such as "A Spoon" and "Wild Ride".
For performance, Jin Shijia has his own unique understanding: "The underlying building of acting is life, and performance is only the flower of the accumulation of life." ”
On the stage of "I Am an Actor", Jin Shijia and Song Yi performed "Hypnosis Master" and won the praise of Zhang Ziyi.
However, in addition to his acting skills, there is also that arrogant and stubborn face, some people say that he is a clear stream in the show business circle, and some people say that he is a top actor.
Back to the rational point of view, an actor with thorns all over his body and out of place with the world is not necessarily a good thing.
You wear a mask, you don't want to break yourself, and when interpreting the role, you often lose that aura and earth qi.
In "River God 2", his performance is more mature and more layered than Li Xian," but the performance traces are too heavy, and his face is full of writing "Look how much I can act." ”
Jin Shijia herself is not a handsome type, and forcibly pretending to be such a "debauchery" appearance is not only unnatural, but also fierce.
In order to show a miserly appearance, Jin Shijia used a lot of small expressions and body language, and her body was full of drama, but there was no focus, but it seemed pretentious.
Guo Deyou's personality is a knife mouth tofu heart, seemingly rebellious but actually lectured on righteousness, is full of charm of the people in the dragon phoenix, Jin Shijia's life of the jianghu is very full, but the "vigorous" temperament on the body, natural sense of distance.
Jin Shijia's acting skills are more than the top and the bottom, and if he wants to break through himself, he needs to put down his self-good heights, and he needs to take off some of the thorns on his body to make his world wider and more inclusive.
An actor who has fallen into the dust of mortal dust can mix any role, and an actor who is high above can only be a performance theory artist.
Sixth place: Zhu Yawen| "Beishang Guang does not believe in tears", "Daming Fenghua"
Among the post-80s actors, Zhu Yawen is very malleable.
He can play the underground party well, such as "Ground Fire";
He can also play a good kidnapper, such as "Red Sorghum";
He can also play a good love saint, such as "Lu Yao Zhi Ma Li";
Zhu Yawen's body is mixed with masculinity, temperament, justice, and free temperament, and the roles of both good and evil can stimulate the characteristics of him.
However, his rough appearance is often too late when playing the role of "domineering president" and "court politician".
In "Beishang Guang does not believe in tears", Zhu Yawen is an IT man Zhao Xiaoliang, a humorous and ambitious urban elite.
Zhu Yawen's sense of elite is not strong, and the performance is slightly harder, like a second-rate child.
When applying for funds with the boss, the posture was still "Yu Zhan'ao", as if to say "you don't give me funds, I will tie you up".
There will be a fierceness in the workplace elite, but this kind of fierceness is often wrapped in a decent coat, and the "fierceness" on Zhu Yawen's body is too much, and there is a kind of banditry, which is exaggerated in front of the "normal" workplace figures.
Zhao Xiaoliang in the play is so good that he is a person who has experienced the storms in the workplace, but Zhu Yawen's body language of shaking his head is more like an intern who has just come out of society, with less sense of stability and introvertedness.
In "The Style of Daming", Zhu Ya culture is Zhu Zhanji, who has been favored by his elders since he was a child and is the future heir of the court.
This is One of Zhu Yawen's few costume dramas, playing such a powerful and ambitious figure, Zhu Yawen's aura is still a little weak, in order to make up for this shortcoming, he tries to use enough facial expressions and body language to pile up, there will be a sense of bluff fake emptiness.
Placing Zhu Yawen in this kind of role is like a child stealing an adult's shoes, stumbling and stumbling, and falling to the ground if he is not careful.
Seventh place: Liu Mintao| "Life Home"
When Liu Mintao was 44 years old, he successfully turned red with a song "Red High Heels", squinting his eyes, pulling his lips, three points of ridicule, three points of thin coolness, four points of carelessness, and was made into various memes by netizens.
Looking back at Liu Mintao's acting career, there are many familiar roles.
Teacher Ge in "Parental Love".
Jing Concubine in "Langya List".
Yang Yan, the third person in "White Moonlight".
Although these roles are all supporting roles, Liu Mintao's calm performance has given the characters a strong memory point.
In the era of the rise of feminism, Liu Mintao has a work leaning body, a divorced and independent life script, and should have been steady on the road of actors, taking a few trophies and drawing a satisfactory stroke for his acting career.
I don't know if Liu Mintao was overwhelmed by the traffic, or whether he chose the wrong script and couldn't come out with red high heels.
In "Life Home", Liu Mintao plays "hardcore mother" Qiu Xiaoxia, a hotel cleaner who lives at the bottom and relies on her own hands to let her daughter gain a foothold in the big city.
This is a very pleasing big heroine script, very suitable for Liu Mintao, but she has vividly played the role into the most annoying look.
Discuss the problem of renting with her daughter, frown, roll her eyes, pout, and write impatience on her face, like a rebellious girl, but Wen Qi, who plays her daughter, is more like a mother.
When he was lectured by the traffic police uncle, he still squinted at people, his eyebrows flew and danced, and he deliberately concave a "sense of innocence".
Asked her daughter what she saw that was inappropriate for children, blinking, squinting, squinting, squinting, sniffing, and even the wrinkles on her face were written "See how much I can act."
Praising her daughter for finding a good job, patting the table, swinging a small fist, and comparing with Wen Qi's calm acting skills, I feel that Liu Mintao is more like a newcomer actor.
What does a mother at the bottom look like?
At the end of each episode of "Thirty Only", there will be a small clip about the daily life of the stall mother, she has no pretentious expression, only a figure full of smiling faces trying to live.
Liu Mintao in "Life Home" very much wants to show the appearance of grounding, but mobilizing every wrinkle on the face is not infectious, no matter how many external things there are, there is no inner strength, it can only be itchy and wrong.
Eighth place: Yang Shuo| "Ode to Joy"
Yang Shuo and Zhu Yawen are similar types of actors, and their bones are full of "hard, dumb, stupid, and true" personalities.
Therefore, the stubborn and naïve rickshaw driver leader in "The Line of Life and Death" is particularly suitable for him.
The corner of "Four Winds" made Yang Shuo, giving him an alias called "Little Four".
Later, Yang Shuo played "Sharp Knife Warrior", "Wolf Smoke Everywhere", "The Woman of the Knife Family", and developed in the direction of anti-war dramas, military dramas, and period dramas, and exerted his personality to the extreme.
However, Yang Shuo always lacked a masterpiece like Zhu Yawen's "Red Sorghum", and he could not wait for the opportunity, so he simply began to try the role of "overbearing president".
Yang Shuo's appearance is a handsome type, and once confiscated, it appears to be too strong and greasy.
"Ode to Joy" has achieved four actresses, but Yang Shuo has suffered a big loss.
Habitually raise eyebrows, laugh, with a low voice, to say that the good point is the walking hormone, the ugly point is the male animal that emits the "sex number" at any time.
If you wear it a little more irritable and wear stud earrings, the grease that can't be washed off is even more obvious.
The expression is exaggerated, and there is a sense of indecency, standing in the doorway of Andy's room, if it is put into the period drama, it is the rhythm of the bandit captive girl.
Soak your feet and bite your fingers and pretend to be scared.
Bao Yifan is obviously a delicate and handsome rich second generation, under the interpretation of Yang Shuo, it has become "feminine", a big man, to pretend to be cute and stupid, it is really spicy eyes.
In "Big Rivers and Great Rivers", the greasy feeling on Yang Shuo's body turned into integrity and stupidity, and became very pleasing.
Yang Shuo wants to find a way out of his career, or play less of a domineering president and return to the main drama.
summary
The difference between acting explosion and excessive force is the sense of proportion, the former is just right, the latter is too desperate to go too far.
These eight powerful actors, the performance of excessive force is that there are too many body language and expressions, and the noise dominates, covering up the emotions and delicacy that should be there.
There are generally three reasons for this:
1. The actor is eager to show the current state of the character, and there is chaos in the rush;
2. The actor wants to get the audience's approval too much, and is out of the real situation of the character;
3. In order to attract people's attention, the script wants to bring contrast and explosive power to the audience.
The most taboo thing about a really good performance is these three points, simple routine and skill, which will make the audience aesthetically tired.
The cross-talk master Hou Baolin once said: "Just right, leave room, rather than enough, not overdo it." ”
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