The annual "Most Beautiful Performance" began to be launched again at the end of August, and from the perspective of several works currently online, Jin Chen's "Stage Spring and Autumn" is undoubtedly the best from integrity to expression. It is also the joint efforts of the director, actors and other staff to provide a perfect movement for the audience.
<h1 class="pgc-h-arrow-right" > plot analysis</h1>
At the beginning of "Stage Spring and Autumn", it is in the low orchestral music, showing a dark scene. A bright light cut through the darkness, and it turned out that a young girl had lit a candle with a match. At this time, the music of the flute began to sound, and the oppressive atmosphere had a hint of warmth and hope.
With the full light of the candlelight, a beam of light shone in, hit the girl's face, and illuminated the entire face of the girl, this light, that is, the real light source on the stage, and as an emotional light, reflected the mood of the heroine at that time.
Subsequently, more instruments began to join the movement, and the musical atmosphere became lively. The girls also danced to the music. The camera began to move with the heroine's action, shaking behind her, and the light source on the stage also appeared. Under the glare, the heroine's figure began to blur, and the background became less clear. The treatment of this backlight also implies that at this moment, it is the most radiant moment of the heroine.
At the climax of the song, suddenly the voiceover appeared: "Director, the heroine has arrived." Then the music gradually became smaller, and the stage chasing light suddenly disappeared, but at this time, the heroine was still dancing until the director shouted to stop. At this moment, the audience knows that the heroine is called "Xiao Jin" and should be a substitute dancer.
The director let Xiao Jin rest, but Xiao Jin did not want to lose this opportunity, and wanted to justify it, but the director changed the attitude of encouragement just now and began to become impatient, and Xiao Jin could only step down. There is no music at this point, and the characters return to reality. Unlike when I danced just now, the face light given this time is warm, which reduces the sense of stage and pulls the audience and the characters back to reality.
After the arrival of the heroine Ding Jie, Xiao Jin could only reluctantly take away his own script. At this time, the camera retreated before the actor, pulled out the panorama, the curtain blocked Xiao Jin, but Ding Jie walked to the chase light where Xiao Jin was before. This chasing light is the symbol of the protagonist.
In the dialogue between the director and Ding Jie, Xiao Jin walked to the backstage in frustration, and the two staff members with costumes walked up to the stage against the direction of her march. I wanted to sit in a chair in the aisle to rest, but I was asked down by the staff who moved the props. These were two minor setbacks she encountered after leaving the stage.
After getting up from the chair, I heard Sister Ding's voice on the stage, "Yo, I script!" I didn't bring the script! "It turned out that Sister Ding forgot to bring the script." Hearing these words, Xiao Jin obviously accelerated the pace of leaving. At this point, the camera completes a shift of axis, from the front of Xiaojin to her back.
After that, the staff will leave XiaoJin's script and use "you don't have to give it to me first" as a reason, which is equivalent to semi-forced snatching away the script. This is Xiao Jin's third setback in the play, but also the biggest setback, the script was snatched away, and he was pushed from the edge again to a more edge, which shows that Xiao Jin's heart is extremely lost and painful at this time.
After that, another staff member ran in front of Xiao Jin. Xiao Jin turned around and looked in the direction of the stage for a few seconds. The lost protagonist, props and script should have been Xiao Jin's, but she has nothing to prepare so far.
Xiao Jin ripped off the cloak on her body, which was also the last connection between the stage character and her. At this moment, Xiao Jin has a belly atmosphere and must be complaining about the injustice of fate.
However, the gamble is the gamble, and Xiao Jin still can't put down the role. After walking through a field of light and shadow (here is a hint of the turning point of the plot), I still don't forget to look at the stage. The director said "from the third segment of thirty-six nights" and this is exactly the one she just performed on stage. At this time, Sister Ding's cloak was golden, much more advanced than the black cloth cloak on Xiao Jin's body.
If you don't forget it, there will be an echo. At this time, the aunt who delivered the box lunch began to speak, took the initiative to send the box lunch, and praised her for dancing well. With warm encouragement, Xiao Jin's face began to show a smile, although it was polite, but her heart had begun to slowly warm up.
Sister Ding began to rehearse, and the music just now sounded again. Xiao Jin continued to walk out along the corridor, at this time a standing officer in the background ran over and asked the other actors to come over. Xiao Jin stopped and watched a dozen actors run to the stage, staring at their distant backs, it turned out that there were too many people like him. Those actors who may not have a word on the stage have a dream of a protagonist in their hearts.
Everyone in the corridor was gone, leaving Xiao Jin alone to walk to the exit, at this time she saw something, stopped, and put the cloak in her hand. At this time, because his position was close to the stage again, the music was much louder than before. At this time, Xiao Jin was encouraged and re-energized his spirit.
Xiao Jin ripped off the head rope and walked toward the exit in a dashing manner. The camera turns back, and it turns out that she has draped her cloak over a model, and behind the model is an angel's wings. If you can't be the protagonist of the stage, you must be the protagonist of your own life. Everyone has a pair of wings, and when you open your wings, you embrace the light. At this time, the sound of music gradually weakens, the camera freezes, and the story ends.
< h1 class= "pgc-h-arrow-right" > director's analysis</h1>
The whole work of "Stage Spring and Autumn" is only more than four minutes long, and it adopts a one-shot shooting method, which can well show the story and emotional changes. The director designed a lot of small details in the work, such as the use of music, through the use of active music, set off the emotions of the characters, hinted at the fate of the characters, rendered the atmosphere, and actually completed the role of passive music, which was very cleverly designed.
In addition, in a narrow and long line of action, designs have been made at various nodes, such as the chairs taken away, the actors on the stage, and so on. In addition to being the driving point of the conflict, these nodes also play a very good role in regulating the rhythm as a whole, and this precise rhythm control is the greatest guarantee for the success of the work.
< h1 class="pgc-h-arrow-right" > actor analysis</h1>
Compared with several other works, this work is the most deserved "most beautiful performance", Jin Chen's performance is delicate and full, the expression of emotions and the action of the body are highly unified, creating a wealth of inner activities for the characters.
The setting of the script itself gave Jin Chen a very good opportunity to show, at the beginning of the performance on the stage is the happiest moment, and then was replaced to begin to lose, sad, take away the script and add the element of anger, on the opposite side of the stage to see the stage rehearsal of the reluctance, until a stranger to give encouragement, only to make the heart slowly warm, and finally out of the shadow to face life positively again. Too many emotions need to be expressed. And Jin Chen always put himself in the role in the performance, and the emotional control is natural and accurate. When Jin Chen finally left the cloak in the background, the music reached the climax of the moment, like an arrow shooting straight to the softest place in the heart, this moment I don't know how many people were touched.
< h1 class="pgc-h-arrow-right" > concluding remarks</h1>
"Stage Spring and Autumn" is actually not only the "most beautiful performance", the joint efforts of the director, screenwriter and various staff members to complete such a work, although the time is not long, but it is a small and fine work. Through the design of story content, music design, lighting design, props arrangement, and scene coordination, the director has achieved the most ideal sense of rhythm, which is perfectly integrated with the rhythm of the actor's performance. Accurate rhythm brings perfect movement, and the most beautiful effort can bring the most beautiful performance. Thanks to the director, thanks to Jin Chen, this "most beautiful performance" deserves it.
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