The low-key and life-oriented performance is becoming the active choice of middle-aged male actors
Dokdo
In the epidemic prevention stage, although supplementing spiritual food in movie theaters has become an unattainable dream, a large number of online resources are freely available, which makes it a habit for homemakers to watch movies and recharge their movies. . Seeing the current starring members of China's top TV drama line-up, they have turned from a greasy youth into an ideal actor-shaped individual, while Luo Jin in "An Jia", Huang Xiaoming in "The Sidelines Are Not Begonia Red" and Guo Jingfei in "I am Yu Huan Shui" is the best among them.
Almost 20 years ago, there was quite a heated discussion in the industry around the achievements of Hong Kong film actors in the Mesozoic era and the subsequent "green and yellow", and one of the focuses was a group of actors in their early 20s, without their own 'S outstanding personal charm lacks the courage and courage of the predecessor actor Yunwen Yunwu and the courage to fight. Times have changed, and the Mesozoic era has been sealed, and the new generation is even more difficult in the changes of its film industry.
With such a situation to reflect on the interior, the taste is very different.
Huang Xiaoming, Guo Jingfei, and Luo Jin who made their debut around 2000, brought their collective memories as a generation born in the late 1970s and early 1980s. The initial understanding of performance and star system may come more from Jingjian Hong Kong The stage of the movie. Therefore, although they all graduated from the Shanghai Theater Academy or the Beijing Film Academy, and received formal and strict performance theory and practical training, in many cases, their performances are more idolized in their public image.
For example, Huang Xiaoming, who had a very obvious sharp temperament at the beginning of his acting career, has been glimpsed in dramas such as "Deer Ding Ji", "Sculpture Hero" and "New Shanghai Beach". He has starred in many major dramas since his debut for several years, which is a great impetus for his star career. At the same time, it also amplifies the part of his performance that overemphasizes his charm. The greasy image of a domineering president that has been staged frequently in recent years has made middle-aged Huang Xiaoming the representative of public vision considerations for "successful deoiling" outside the performance category. Therefore, Cheng Fengtai, who plays in the sideburns is not Begonia red, walks through the multiple channels of the old era, completes the specific scene with the attitude of often silently watching, but must hit at the critical moment, showing the long-lost "silent victory. The generosity of his public background and the uneven sequence of film and television works seem to be particularly muddy and untouched, giving a good start to his unforgettable acting career. On the one hand, he is not the only actor in the play, on the other hand, maybe the episode's own "age" + "Peking Opera" type and element stack, leading Huang Xiaoming's performance to hide and ease.
In a sense, the difference between the "deoiling" of middle-aged male stars in the Mainland and the performance levels of the Hong Kong film industry's once-new generation of middle-aged male actors who could not reach the level may be that The alertness and resistance expressed by "greasy middle-aged" seems to be becoming a kind of conditioned reflex for mainland (male) actors. Unlike the sleek and generally exposed middle-aged greasy men in the general perception of the general public, the people represented by Huang Xiaoming and Luo Jin and the middle-aged actor community are gradually realized in the sequence of screen / screen images that they create In order to reduce the degree of externalization, part of the "unbearable" attribute contained in the word "deoiling" has been transformed into a "disenchantment" behavior in the performance of advanced performance, making it a synonym for the upgrading of its own business standards. .
Xu Wenchang, played by Luo Jin in "An Jia", can almost be described as "washing out the lead." The Han Xiandi who had obvious ups and downs in the "New Three Kingdoms", or Xiao Dingquan, the "crying pack" who was deeply trapped in the power storm in "He Ting Hua Ting", had a very clear "push performance" meaning under Luo Jin's interpretation. That is, it seems that the character's heart is relatively directly externalized to the audience. Xu Wenchang retreated to the logic of an ordinary person. From the performance of Sun Li and Sun Li, it can be seen that Luo Jin's performance also seemed to consciously "retreat", raising his hand to be modest and convergent, showing that the contemporary strugglers are the most common and the most The characteristic side. For a quasi-middle-aged actor who is currently in the ascending period, it is a very steady step to actively or passively choose to depart from specific types of works and character modeling modes.
In the past works, Guo Jingfei, who has made the audience accustomed to the positioning of "comedian" who jumps up and down, also has a performance learning background in professional colleges, and is also facing a test of transformation towards the middle age. The new drama "I am Yu Huanshui" 》 It seems to provide a Zhou Xingchi-like sympathetic situation for his performance: a middle-aged salesman who was riding on the head of a group of people, suffering from cancer and suffering from fate, but inspired the courage of such a little man to move forward . This setting gave full play to the performance energy accumulated by Guo Jingfei's years of experience in the stage of his debut, and gradually accumulated the momentum of the Jedi counterattack in a period of Wei Nuo Nuo. This ridiculous comedy, which is only 12 episodes in length, is actually completely different from many pure gag comedy works that Guo Jingfei had participated in before. In the play, his performance must continue a stereotype based on his past role-building, and at the same time, the characters Faced with the complexities of tears in laughter, his inner eyebrows were forced out of his eyes. According to the reaction of the audience after the show, it is likely that this is a very important variant of Guo Jingfei ’s performance career. In this play, the long-lost human fireworks in the domestic TV series can be recovered, and the main creator can also be seen. The attention and observation of strong individuals in the great era.
Of course, it is still far-fetched to classify this wave of middle-aged male actors collectively into the "oil-free" array, because in fact, the low-key and life-oriented treatment of the performance's own posture is based on the increasingly exaggerated wave of exaggeration in the past decade. Will be based on interest. Huang Xiaoming, Luo Jin, and Guo Jingfei ’s youth were often scrambled from countless such performance models. For them personally, by reducing the intensity and internalizing the expression to improve the performance level, it is outside the capital operation. A fairly simple approach in the performance ontology, they once again proved their contingency efforts, and also declared that the intergenerational inheritance process of film and television actors needs to be thorny, but there is still the possibility of infinite progress.
Of course, this is also inseparable from the works they specifically participated in. If it were n’t for the character survival predicament set by “I Am Yu Huan Shui”, I believe Guo Jingfei could hardly complete the stereotype of his best-known character in a short period of time. Switch. Similarly, in response to the housing issue that is most closely related to the current Chinese people's life, such as "Anjia", it highlights the expression of "mortal song" completed by Luo Jin (whether the play itself is really satisfying the public is another topic) . It can be said that the accumulation of the actor's own experience and the latest trend of film and television drama creation have jointly created the miracle of "deoiling" at this moment. This phenomenon should not be taken seriously, nor should it be superstitious or deified. After all, the social, economic, and cultural context of these actors is completely different from the stage that their predecessors or the Hong Kong film and television industry have experienced.
(The author is a PhD in drama and film and film critics)