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Today, I watched the young actor's performance of "Wu Jia Po", and the play sang very well. In addition to being happy, I recall some scenes of my early years of acting in this play, which still clearly appear in front of my eyes.
Acting should be "real", fake drama real singing. For example, in the scene in "Wujiapo", Wang Baojun grabbed the eyes of Xue Pinggui, a local fan, in an attempt to escape, a few actors acted here and read "Military master, you see, someone is coming!" After this sentence, the spirit focused on the "action" of grasping the soil: a right water sleeve, with a quick turn, the legs were crossed, half crouched, with the shape of an orchid finger hand to grab a handful of soil, facing the face of the old student and lifting it over...
It seems that the figure and movement are very beautiful, but the play sings "fake". Although the actor obviously knew that this military master did not really want Wang Baojun to return the twenty-two grains of silver, nor would he really use his horse to drive Wang Baojun back to Xiliang to settle the account, but when the actor played Wang Baojun, he had to believe all this as true like Wang Baojun.
Xun Huisheng
When the other party sang "one horse and two strides to Xiliang", and saw that he was about to come up and pull, Wang Baojun was really anxious and afraid, because in this desolate wilderness, far away from the cottage, shouting should not be, a weak woman, when she met such an unreasonable man, how could she not look anxious? Now the only way to escape is to get away. But the two are very close to each other, and their every move is easily discovered by the other party, and the opportunity to escape is fleeting.
She put her hopes entirely on this plan, and her attention was focused on not being discovered by the other party, trying to divert the other party's eyes. So when he read "Military master, you see, someone is coming from there", his eyes also looked in the direction of his fingers, making it really as if he saw someone coming, in order to trick the other party into diverting his gaze, and found that the military master was deceived, and his eyes were still staring at the distance, and at the same time, he squinted at the military master to see if he had seen through his own plan.
Then sneaking to the side of the military master, half leaning over to pick up the bamboo basket, turning and moving over, grasping the soil with a low body, at the moment of grasping the soil and picking up the basket, only a quick glance at the bamboo basket and the ground, and then immediately turned to look at the military master.
Cheng Yanqiu and Tan Fuying's "Wujiapo"
This series of eyes and actions should be done very lightly, quickly, and urgently, after grasping the soil, looking back, looking for a good way out, and then completely concentrating on the soil, in order to hit.
Performing in this order can the mood and dynamics of the characters be portrayed in a real and credible way. Wang Baojun in life may immediately turn his head and run away at this time, but in order to round the first three sentences and show her heart, there is also a sentence "hurriedly turn back to the cold kiln", which is to sing Wang Baojun's heart words directly and directly, which is an exaggeration of the drama. There are a few actors who like to show off their singing voice on this sentence, especially the hurried "busy" word, the cavity drags very long, and the singing is also very high, as if Wang Baojun has done something worthy of public pride, that is, the experience is wrong. She has not yet escaped the "dangerous situation", where is the leisure to sing a high note!
This singing must be sung very concisely, compactly, word by word, to match her mood at that time. Singing the last three words, the right hand water sleeve on the chest, to the left and right of each, a flip wrist, the water sleeve high on the head, turn, a long body, with the "small gong tap" quickly down.
Yan Huizhu's "Wu Jia Po"
Sometimes the actor himself feels that he is "anxious" to experience the mood of the character, there is no action, simply run off the field, that is not OK. A good performance should have both art and life, both in line with the mood of the characters and dramatic exaggeration.
("Xun Huisheng's Drama Essay")