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On the stage of "Infinite Transcendence Class", Han Xue is like a dancer, every movement on the stage seems a little clumsy, and sometimes even seems to be dancing the wrong steps.
Her expression was like an uncarved stone, lacking a bit of agility and vitality.
Compared with her, Wu Zhenyu is like a seasoned dancer, and his every movement is as natural and smooth as flowing water, which makes people sigh at his acting skills.
The audience found that Han Xue's performance in improvisation was always a little regrettable.
She always seems to be stuck in the mud of thinking and unable to react quickly.
It's like a shy little bird, frightened by a sudden sound, and doesn't know where to fly.
Wu Zhenyu, on the other hand, is like a nimble falcon, he is able to keenly catch every opportunity and react quickly, which makes people have to marvel at his wit and reaction speed.
The audience also began to question Han Xue's lack of eye performance and tacit understanding.
Her eyes are always a little blurry, as if she is lost in her own world, and the tacit understanding with other actors is also a little lacking.
It is like a lonely explorer, looking for a way forward in the vast wilderness, but often lost in the unknown road.
Wu Zhenyu is like a shrewd captain, he can accurately guide the ship in the right direction, and maintain a close tacit understanding with the crew, making the whole voyage seem so smooth and harmonious.
The audience pointed out that in "Harbin 1944" and "There is No Thing That Can't Be Solved by a Hot Pot", her expression and voice seemed to be blown too violently by an invisible wind, and the result was a bit too much.
They said that Yang Mi's performance in these dramas is like a hot pot dinner, which seems to be sumptuous, but in fact lacks the real umami.
In "Harbin 1944", Yang Mi's performance is like a cup of soup with too many spices in it, and it turns out to be a little too salty.
The audience said that her expression was used too much, like a hot pot, the fire was so strong that the ingredients lost their original taste.
What they want to see is a more peaceful and authentic performance, like a bowl of warm chicken soup that warms people's hearts.
And in "There Is No Thing That Can't Be Solved by a Hot Pot", Yang Mi's voice seems to be a spoon, stirring too often, and the result is a little chaotic.
Her performance lacks character depth, like a hot pot with only spices in it, lacking the richness of meat and vegetables.
What they want to see is a richer and layered performance, like a pot of hot pot with various ingredients matching each other, rich in flavor and evocative.
Imagine how the characters in this show might react if they could come to life. Maybe they will gather like a group of elves and discuss Ren Min's performance one after another.
On this fantasy stage, we can see the members of the Five Elements Family standing together and discussing this issue.
Let's take a look at what the characters would say about Ren Min's performance.
Perhaps the representatives of the five elements of gold, wood, water, fire, and earth will each have their own opinions.
A representative of the gold element might say, "Her performance seems to lack some golden sparkle, as if she doesn't really understand the essence of gold."
And the representative of the wood element may sigh: "Her acting skills are a bit like a tree swaying in the wind, lacking a firm foundation."
The representative of the water element may say in a soft tone: "Her character is represented as a drop of water on a stone, lacking the coherence of a stream."
The representative of the fire element may say with full fire: "Her acting skills are like a flame that has been extinguished, lacking the enthusiasm and charm of fire."
A representative of the earth element may calmly comment: "Her performance is a bit heavy like earth, lacking the stability and heaviness of earth." ”
And in the course of their discussion, perhaps one of the characters will play the role of mediator, like a wise man, saying: "Let's not just look at her on the surface, maybe she is trying to fit into the role, but we can also give her some encouragement and advice so that she can better understand and express the meaning of the role." ”
In "The Unspeakable", Li Yitong's performance received some criticism.
The audience felt that her character lacked an inner tension and realism, like a bland painting, lacking the details that would make it stand out.
Imagine if the character were a glass of water.
Viewers may feel that although this glass of water looks clear and transparent, it lacks that heart-pounding feeling, like a pool of stagnant water, without surging vitality.
The problem is that Li Yitong's expressions and movements seem to be out of touch with the plot, like a dancer who can't keep up with the rhythm, always leaving a sluggish pace on the stage.
Furthermore, Li Yitong's image doesn't seem to match the character's positioning, like a mountaineer in casual clothes who appears at a serious business meeting, which makes people feel a little out of place.
This sense of incongruity makes the audience feel that Li Yitong's performance is unconvincing, like an article that has lost its soul, although every word is correct, it cannot touch people's hearts.
The portrayal and expression of the characters need to be rethought, so that Li Yitong can better integrate into it, like a perfectly fitting puzzle piece, making the whole story more complete and vivid.
In the eyes of the audience, the actor's performance is like a painting, and the details are the subtle lines in the picture, sometimes they are overlooked, and sometimes they become the focus.
The audience is looking forward to more details, more emotional investment, as if a scene is a symphony of the heart, and more rich notes are needed to play.
The actors don't seem to have fully captured these subtleties, and they need more training and insight, like an explorer who needs to find hidden treasures in the middle of nowhere.
The audience has raised higher expectations for the characterization of the actors, and they want to see the authenticity of the characters, as if the characters are ordinary people living around us, rather than a fictional shadow.
The actors need to dig deeper into the inner emotions of the characters, like an excavator engineer who needs to peel back layers of land until he discovers the treasure hidden in the depths.
This kind of excavation requires patience and perseverance, and requires the actors to integrate themselves into the inner world of the characters in order to gain the recognition and resonance of the audience.
There is a subtle difference between the audience's evaluation and perception of the actor, which reflects that there is still room for improvement in the actor's performance.
Actors need to dig deeper into the inner world of the characters and present the characters vividly in front of the audience to win the audience's recognition and affirmation.
Just as a chef needs to constantly adjust the proportions of ingredients and a painter needs to constantly polish the picture, actors need to constantly refine their acting skills to achieve a truly heart-warming drama.
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