Tatsuya Nakadai appeared in the post-screening event of "Cutting the Belly"
On March 21, 1905, the museum welcomed Mr. Nakayo Tatsuya, a National Treasure of Japan, and from 4:30 p.m. to 9:30 p.m., for five hours, the event was a complete success. After screening his masterpiece "Cut belly", Mr. Tatsuya Nakadai also came to the stage in person and met with more than 600 fans. Also in the audience were the famous actor Pu Cunxin, director Lu Chuan, and Japanese cultural scholar Wang Zhongyi, who discussed many issues related to film and performance, and Tatsuya Nakayo talked about his cooperation with directors such as Akira Kurosawa and Masaki Kobayashi.
At the end, Mr. Tatsuya Nakayo sang a song "Autumn Leaves" with his younger brother Mr. Keigo Nakayo, which was particularly cute. The lyrics go like this —
The lamp in the wind temporarily recalls the disappearing happiness from the endless night
Standing in the desolate winter streets at night
I have lost the strength to live
Ah can't forget the sadness of the past
The lament of that night
Dead leaves don't stop falling
Dead leaves fall in the wind
Every fallen leaf falls on the cold ground
Faded love songs from the past
Desolation resounded in the heart
Nakadai Tsubaya Kazu brother nakashiro keigo
Mr. Tatsuya Nakadai, who has been engaged in an acting career for 70 years and has participated in more than 110 films and more than 110 plays, is not a god of acting skills from the beginning.
He said: "I have been brushed off nine times I have auditioned. ”
Fortunately, Akira Kurosawa's "Seven Samurai" gave Tatsuya Nakayo the opportunity to appear on the big screen for the first time, after which Masaki Kobayashi's "Conditions on Earth" also became a turning point for Tatsuya Nakashiro.
"Conditions on Earth"
An interesting coincidence is that Mr. Tatsuya Nakayo once participated in the Sino-Japanese co-production film "Children of the Earth" and played against the actor Zhu Xu, and in Xie Jin's "Bells of Qingliang temple", pu Cunxin and Japanese actress Kurihara Komaki played against each other.
However, even with the works that all actors want to have, such as "Shadow Samurai", "Chaos", and "Cutting Belly", Tatsuya Nakadai does not stay on the screen.
Children of the Earth
Pu Cunxin wondered why Tatsuya Nakayo, who started on the stage of Haiyuza (a Japanese drama group and one of Japan's top five theater troupes), never left the drama stage. He even set up a completely free anonymous actor training class and an anonymous drama hall together with his wife, training five students every year, which requires energy and effort that is unimaginable to ordinary people.
Tatsuya Nakayo replied, "I want to see good actors, even better actors than me."
This kind of excavation and persistence of performance has also been implemented in his own life.
My original life ambition was to be a stage actor, but due to the chance to enter the film industry, after the film was made more, the time for stage drama was squeezed out. Because I firmly believe that an actor leaves the stage for a long time, his acting skills will be reduced, so I set a rule to ensure that half of the time is insisted on acting in stage plays every year, and the remaining half of the time is in movies.
Hamlet, 1964
Under this insistence, Tatsuya Nakadai has achieved a perfect balance between film and television works and stage drama works, and many films or dramas will even take the initiative to adjust their time in order to wait for his schedule.
Maintaining a high density of creation on the screen and on stage is a kind of "tempering" that Tatsuya Nakayo has given himself. This can't help but remind people of what Nagisa Oshima said, "The appearance of Tatsuya Nakayo should be said to have opened the first page in the history of artistic self-consciousness of Japanese film actors." ”
Nagisa Oshima writes that Tatsuya Nakayo seems to have a personal experience of such things as "acting", that is, the idea of "honing acting", and he will watch some extremely small things in the tram with the nature of the actor, "it seems that his performance is like a genius, but in fact there is such training and hard work behind it." ”
Tatsuya Nakadai in Shanghai (courtesy of the Drama Association)
In response to the audience's questions, Tatsuya Nakadai also mentioned this "tempering" -
For a stage actor, mental and physical strength are very important, and they must constantly hone their physical strength. When a stage actor gets older, his physical strength will definitely decline, and the older he gets, although people say that you are an old actor, a famous actor, because you want to maintain your performance state, you have to keep practicing. This is the idea behind my practice every day, because when I am older, if I want to continue to perform, I will have to put more effort into the practice than ordinary people, and I will continue to do the practice.
As an actor, it's very important to be mentally focused, and it's true for stage actors, and it's the same for movies. So I think in order to maintain this kind of attention with this kind of engrossed attention, as an actor, every time you deal with the audience, you have to be as highly nervous, highly focused, like the first performance of the performance, and that's okay. Another important point is the intense, intense practice training.
《Harassing》
From this passage, you can see that Tatsuya Nakadai is indeed adhering to a certain spirit in his performance.
Lu Chuan also specifically mentioned that coming to see Nakayo Tatsuya is like coming to see a spirit of performance, he asked Nakadai Tatsuya a question, what is the "spirit of performance"?
Nakadai Tatsuya thought about this question a little and said, "The more you discuss it, the more difficult it becomes."
Lu
Then he came up with his own answer, saying that there is a word in Japanese called "disorganization", which means "absurd" in Chinese, and the profession of actor is full of absurdity.
First, you can't really confirm whether you have the talent to perform, not even myself; second, you have to stand in the position of that character, understand the role as a person, deeply understand the character's lines, and then you can turn it into your own lines; and finally, as director Kenji Mizoguchi said, "You must have a reflection on the character, reflect like a reflection, and then return to you."
These are the three "puzzles" that Tatsuya Nakayo believes need to be solved as an actor.
Shadow Samurai
Wang Zhongyi mentioned in the dialogue that Tatsuya Nakayo was an actor who grew up with the golden age of Japanese cinema, and he himself admitted this.
The glorious history of Japanese cinema in the 1950s and 1960s belongs not only to Japanese cinema itself, but also to the world. In the characters played by Tatsuya Nakayo, you can basically see half of the history of Japanese cinema. He also said with some regret that compared with the golden age, today's Japanese films are beginning to be in a state of bottom and decline, and creators will face more difficulties.
In the face of this kind of death, Zhongdai Daya shows more of a kind of calmness -
I am also very old now, and in the future, whether it is a stage play or a movie, as an actor, I think my work should be handed over to future generations and successors. Man is mainly born, survive and die, so how can man live? This is a matter of choice, so it is very important for the actor or the director, how to survive.
He was emphasizing a kind of inheritance.
This is partly because the beginning of his acting career also comes from a kind of "inheritance".
"Seven Samurai" debuted on the screen
Tatsuya Nakadai first appeared on the screen with Akira Kurosawa, and since then he has also starred in many works by Akira Kurosawa. It is for this reason that Tatsuya Nakayo's master class can also be seen as a special opening program for the kurosawa Akira screening that will open in April.
In the dialogue, he recalled his first cooperation with Akira Kurosawa -
The first time I met Mr. Akira Kurosawa was in the second year of acting school, when I was eighteen or nineteen years old, and I got the ordinary role of the good man in "Seven Samurai". The scene started shooting at nine o'clock in the morning, but the director never said "over" because I could neither know the pace of samurai walking nor the rules of the samurai sabre. So the director ordered, "Don't give this kid a meal, let him keep going." But I shot from nine o'clock until three o'clock in the afternoon, and the director didn't say "ever."
Director Akira Kurosawa was very anxious and asked me where I came from? I replied that the actor school haikuza came. The director was very angry and angrily rebuked me, "Isn't it true that such an excellent actor school as Hai Youza has not even taught the basic steps of a samurai?" Well, let's get over it.
This feeling of humiliation is now deeply imprinted in my mind. That's my first step as an actor.
Later, when I received "Conditions on Earth" directed by Masaki Kobayashi, I swore in my heart that I would never take a scene directed by Akira Kurosawa in the future.
Six years later, director Akira Kurosawa finally recognized me, and after a long time I finally had the courage to mention "Seven Samurai" to director Akira Kurosawa. Director Akira Kurosawa said: "I saw you as a promising young man, so I was so strict with you.
We can fully say that without Akira Kurosawa, there would be no Tsuyun Hanshiro in "Cut Belly", and there would be no Nakayo Tatsuya today.
As a master of Japanese and world cinema, Akira Kurosawa continues to influence generations of filmmakers, including many Chinese directors. The obvious one is Zhang Yimou, and the less obvious one is Lu Chuan.
The King's Feast
In the dialogue, Lu Chuan also mentioned that when filming "The King's Feast", he watched "Chaos" and "Shadow Samurai" every day, Kurosawa's staged photography style, and the sense of being trapped in the vortex of power interpreted by Tatsuya Nakayo, all of which had a deep impact on him.
Looking back at "The King's Feast", you will find that the interior scene of the film emphasizes the fixed camera position of the stage sense, which is in great contrast with the documentary style of the exterior scene; especially in the twilight stage of Liu Bang, the camera has become more condensed, this kind of image scheduling to allude to the protagonist's state of being deeply trapped in the center of power, and the character performance to determine the processing of narrative tension is obviously "Kurosawa Akira style" and "Nakadai Tatsuya style" treatment.
Tatsuya Nakayo may not have imagined that he would influence the creation of directors in other regions in such a way.
Rikukawa and Nakadai Tatsuya
Because of the filming of the new film "749 Bureau", Lu Chuan, who has been rotating for 27 hours, has a kind of "student spirit" when facing Nakayo Tatsuya. Not only him, But also Pu Cunxin and Wang Zhongyi, including the more than 600 spectators present, held a sense of reverence throughout the night.
That's for Tatsuya Nakadai, and it's also a reverence for the movie.
He not only stands on the stage as the god of acting, he is also the overlap of the classic images in countless movies, the spirit of performance itself.