Recently, there was another big news in the entertainment industry: the new drama starring Yang Mi received a wave of bad reviews as soon as it was launched. Everyone is complaining about her performance, saying that her expression is like a "rag", and there is no regularity at all.
The facial features are "flying around" in front of the camera, and even the crying scene is particularly embarrassing. At this time, Yang Mi's acting skills have become the target of public criticism again, and some netizens even said directly: "This acting skill is really not as good as Zhao Liying." ”
The audience criticized Yang Mi's chaotic use of expressions in the play, thinking that the changes in her facial expressions lacked layers and delicacy, sometimes too exaggerated, sometimes too bland, like a rag wiped at will, unable to accurately convey the character's inner emotions.
This criticism reflects the audience's high requirements for the management of actors' expressions, and also shows the audience's disappointment with Yang Mi's performance skills this time. "Facial features flying around" refers to Yang Mi's description of facial dynamics in the play.
Her eyes, eyebrows, mouth and other parts lack coordination when expressing emotions, giving people a sense of disorganization. This phenomenon not only destroys the overall beauty of the character, but also weakens the authenticity and appeal of the performance.
The resulting discussion prompted us to re-examine the relationship between the accuracy of actors' facial expressions and character building. Yang Mi's crying scene in the new drama was criticized as "embarrassing".
Mainly because the audience thinks that she fails to fully show the complex emotions such as grief, anger or helplessness that the character should have, but instead gives people a sense of deliberateness and contrivedness.
This exposes the challenge of balancing emotional depth with acting technique when dealing with strong emotional scenes. Compared with Zhao Liying and other recognized acting actors, Yang Mi's shortcomings in this regard are highlighted.
Yang Mi's acting performance in the new drama has been widely questioned, and the issue of her character shaping and emotional communication has become the focus of public opinion. Especially in terms of expression control, it was criticized as "the expression is like a rag, the facial features are flying around", and the embarrassing handling of crying scenes.
These all reveal the audience's dissatisfaction and disappointment with Yang Mi's acting performance. In this context, Zhao Liying's name is frequently mentioned, and it has naturally become a standard reference used by the public to measure Yang Mi's acting skills.
Zhao Liying, a powerful actor who has also attracted much attention, has won universal recognition from the audience with her superb acting skills shown in her past works. Her portrayal of emotions is nuanced, whether it's joy, sadness, anger, or forbearance.
can be accurately conveyed through subtle eye movements, facial micro-expressions and body language, so that the audience can be deeply immersed in the emotional world of the characters.
Her expression management ability is also highly praised, and she can freely switch expressions in different situations, neither overly exaggerated nor overly restrained, and always maintains a high degree of compatibility with the character's personality and plot atmosphere.
This natural and unpretentious way of presentation makes the audience feel comfortable and convincing while watching, further enhancing the credibility of the characters and the appeal of the story.
The acting controversy caused by Yang Mi's new drama is not only related to the development of his personal acting career, but also reflects the high expectations of the current audience for the performance level of actors.
In the face of criticism, how should Yang Mi adjust and improve his acting skills? As an audience, how should we rationally look at the growth process and performance flaws of actors?
This acting turmoil provides us with a window to examine the professionalism of actors, the audience's aesthetic orientation and the ecology of the film and television industry, which is worthy of in-depth discussion in the comment area.