Luo Xiner

  With the broadcast of the TV series "All About Doctor Tang", another representative role has been added to the sequence of works starring Qin Lan.

She plays Tang Jiayu, director of the hospital's heart center in the play. She has made new breakthroughs in addition to the usual soft and atmospheric film and television image. The characters have the belief, calmness and rigor of the industry elite, and the gains and losses, emotions and feelings of contemporary women. Ordinary and great, can arouse the audience's resonance.

  For a long time, most of the audience's impressions of Qin Lan came from Zhihua in "Huanzhu Gege 3", Lu Ping in "Seeing a Dream Again", Empress Lu in "The King's Feast" and so on.

In recent years, when she is middle-aged, she has starred in many TV series, and many roles and performances have been "out of the circle" one after another, such as "Bai Yueguang" Fucha Rongyin in "Story of Yanxi Palace", Mo Xiangwan, the courageous and skillful star agent in You Are Too Beautiful, and Yi Zhongling, the gentle, wise and knowledgeable eldest sister in Heirloom.

It can be seen that Qin Lan has been playing a role commensurate with his actual age after entering the industry for more than 20 years. He has withstood the test of time and accepted the gift of time with a state of precipitation and refinement brought about by the passage of time.

  Incorporating the personality traits of different characters in the clear background, bringing a reasonable sense of healing

  In "Blame You Are Too Beautiful", there is a widely circulated clip: backstage at the awards ceremony of a certain film and television festival, old and new stars gathered together to prepare for a group photo.

Seeing that Lin Xiang, the traffic actress he brought with him, pushed the veteran actress aside and seized the C position, the manager Mo Xiangwan played by Qin Lan did not secretly sit on the sidelines, but quickly stopped the shooting and shook Lin Xiang away without a trace. Help senior actors return to the center of the film with a colorful cape.

  In this drama series that deeply exposes and reflects on the ecology of the entertainment industry, the above-mentioned bridge section is like a typical cross-section, which not only reflects the phenomena in the circle such as traffic stars, stealing the spotlight, flamboyant pressure, C position, and passing gas, etc. It is also a general leader and generalization of the whole play - the vanity fair with the red top and white, you and me have never stopped fighting, details determine success or failure, and the ups and downs of fate are only a moment.

In the midst of this strife, Mo Xiangwan has her own heart of Dinghai Shenzhen, and the white clothes show the character's character and character, which paved the way for her to set up her own business and name her company "Qingyuan".

  And this "clear flu" that insists on the original heart and is not infected in the secular world is also a key word that can be extracted from Qin Lan's series of film and television images in recent years.

  The characters and personalities in film and television works are ever-changing, and their styles are different. The final presentation effect also depends on the actor's own temperament and acting skills.

In recent years, Qin Lan's film and television image has generally been soft and atmospheric, which is the dignity and stability that the years have given her; more importantly, she has a sense of acceptance for the world around her and her heart, so it can arouse people's feelings Wipe the familiar tenderness.

But this "softness" is "soft" and not "weak". It seems to be able to taste some kind of compassion that sees through the world, some kind of insight into people's hearts, so it can make the character become a strong man, take care of himself, and control himself. Unpredictable fate, the audience's expectations.

When this kind of gentleness and pure kindness becomes a subjective choice after fully understanding the status quo, it produces a "clear flu" that does not conform to the crowd and does not compromise.

  It can be found that the characters of different eras and identities created by Qin Lan are further blended into the personality traits of each character in the background of this "clear flow".

  In "All About Doctor Tang", Tang Jiayu is set to be the first female director of the hospital's heart center in the history, and she was parachuted into a leadership position, facing multiple pressures from gender and from the workplace.

A classic picture composition in the play is that Tang Jiayu is located in the center. She is petite but has a strong aura. The five male doctors' subordinates are surrounded by her in a state of unity and conviction, which directly highlights her role in male doctors. The challenges of most cardiac surgery work demonstrate Tang Jiayu's extraordinary professional ability and personality.

When Qin Lan portrayed Tang Jiayu, he also showed a contrasting effect. His attitude was calm and his tone was gentle, but his behavior was straightforward and determined. He was also a little naughty by surprise, giving the characters a sense of "top master" who played cards out of common sense.

The eldest sister Yi Zhongling in "Heirloom" has the heart of an eldest sister like a mother. She is forbearing, tolerant, willing to give, and accepts an arranged marriage for the family.

But this character is not a real traditional old-fashioned woman. After suffering successive blows from turbulent times and family changes, her sense of responsibility for her family and her family gave birth to her courage and wisdom. With her gentle and weak appearance, she deceives the enemy and secretly fights with her. To start a desperate fight.

Rong Yin in "Strategy of Yanxi Palace", who is behind but gentle and kind, also abides by virtue in the environment of mutual conflict and injury. As she said, "I have never done a single bad thing in my life".

This character is a heartbreaking "white moonlight" both in and out of the play, representing pure and flawless beauty.

Rong Yin struggled to maintain her pure conscience in the sinister struggle of the human heart. Her tragic end of despair and suicide formed the most tragic accusation in the whole play.

  On the whole, Qin Lan's role of "clearing flu" has a "defensive" character due to its gentle and elegant charm. Even elites and strong people are not aggressive, and even have a reasonable sense of healing. It is the "power of gentleness" she mentioned when she wrote "Blame You Too Beautiful".

  She plays ordinary people who are constantly torn and struggled between ideals and reality, and their emotions are connected with reality.

  In recent years, as the TV series starring Qin Lan have been widely praised, she has gradually been regarded as an actor who can "carry the drama", and has become the guarantee of the quality of the TV series and the guarantee of audience recognition with her own appeal.

The reasons why an actor can "carry a play" are complex, but from the perspective of performing arts, a very important factor is that the actor's performance must be very attractive.

  "Night-looking" is an art level that is quite difficult to reach.

It cannot be replaced by "high appearance", "high traffic" or "high cost", and it is not simply determined by the level of acting skills and the richness of acting experience.

  It includes the requirements for the actor's image and temperament, the requirements for the basic skills of the voice, stage, shape and appearance of acting, as well as the requirements for the fit of the role and the performance of the performance state.

What is more important is whether the actor's artistic presentation can convince the audience, whether the charm and dramatic tension of the characters can attract the audience to the plot, and whether the emotional expression and detailed design can withstand the audience's repeated taste and scrutiny, and then can arouse the audience to the characters. The goodwill and recognition of the audience generate the desire to "follow dramas".

  Qin Lan's performance is endearing.

This first stems from her good looks and ability to shape different characters.

  When filming "Han Zhu Gege 3" in 2003, Qin Lan was still a fledgling newcomer, with little acting experience, and won the favor of producer Qiong Yao with his appearance and temperament.

Zhihua is Qin Lan's first character well-known to the public, and his "personality" with both talent and beauty is extremely controversial.

Qin Lan, as the "secret weapon" deliberately launched by the play, stunned the four with his appearance, but also filled the character's play space through his acting skills, and interprets Zhihua's softness, stupidity, cunning, and ruthlessness in parallel, attracting people to "hate". Also arousing "pity".

This colorful and three-dimensional multi-faceted character has even become a representative of a typical character. Some of the performance segments will still appear in short videos and other film and television creations, and with the changes in social thoughts, they have been revisited by the audience from different perspectives. scrutiny.

In 2007, Qin Lan played the role of Lu Ping in "Seeing a Dream Again". In the early stage, she was noble and elegant, and was loved by thousands of people; Impress.

After that, she played Empress Lu in the movie "The Feast of the King", which further enriched her sharp and gloomy character.

In the later creations, she also gradually stepped out of the "comfort zone" of Qiongyao girl-style romance drama performances, and continued to explore her creative potential in different themes and works.

  The reason why Qin Lan's performance is endearing lies in her sincerity and devotion in her creation. She handles the performance in a natural and vivid way, conveys the character's humanity and human touch, and arouses the audience's sense of substitution.

  When watching Qin Lan's performance, I can feel the real communication between her and her opponent, as well as the emotional flow and thought change process of the characters.

This allows her to show different styles and effects under different character scores, such as Rong Yin's gentleness and honesty, Mo Xiangwan's shrewd and sharp, Yi Zhongling's virtuous and persevering, and so on.

This is also reflected in her latest work "All About Doctor Tang".

Tang Jiayu often needs to say a lot of lines that contain medical terms. Qin Lan and other actors also have many rival scenes discussing illness and scientific research. At this time, it is inconvenient to use too many large-scale movements and fragmentary camera changes to enrich the look and feel.

So how to make the audience "endure" long lines in a relatively static state?

It can be found that Qin Lan's performance has always been full of changes. She conveys the characters' emotions and thoughts through the changes in her delicate eyes, expressions, and micro-movements. The audience needs to capture these and experience Tang Jiayu's thoughts and situation.

In particular, her eyes always carry a certain emotion or purpose in a very specific way, and in the flow of her eyes, it is clear that the narrative purpose of this scene is to be achieved.

Her performance is not "pretending" with the most beautiful angles and postures, but "receives the play" according to the lines and attitudes given by the opponent's actors, so she looks fresh and not "face paralyzed", smooth and not trivial, every time Every response has a basis, and every presentation has an effect.

Some actors have been criticized for "flying facial features", "too many small movements" and "empty eyes" when acting. The difference lies in whether the performance follows real emotional communication and reasonable character logic.

  It is this sincere sense of investment that makes Qin Lan's characters infinitely close to life and reality, not false, and has no sense of distance.

The classical beauty she plays will not look like an unfamiliar display from a museum; the industry elite she plays will not look like the "white lotus" and "silly white sweet" who are suspended and ungrounded.

Whether it is Rong Yin, Yi Zhongling, Mo Xiangwan or Tang Jiayu, there is no "big heroine" who is invincible and kills all directions, only ordinary people who are constantly tearing and struggling between ideals and reality.

Their joys and sorrows are closely connected with reality, and they are the more beautiful and kinder real people we can see around us.

  Each has its own beauty: the change of ideas around the female artistic image in domestic film and television dramas

  Qin Lan officially entered the industry in 2001. From supporting roles to protagonists, her characters cover a variety of genres, including TV series, movies, web dramas, variety shows, evening parties and other literary and artistic forms. It can be said that she is the most important part of Chinese culture and art since the new century. The witnesses and witnesses of the period of great progress in their careers, their artistic career reflects the development ecology of my country's film and television industry.

  Take the movie as an example, she participated in "Nanjing!

Nanjing!

"The Great Work of the Founding Party" and "Moment of Decisiveness" and other masterpieces of new mainstream films, as well as "The King's Feast", "Rage: Serious Cases" and other co-produced commercial blockbusters between the mainland and Hong Kong, as well as "Fate Call Transfer", "Hidden Marriage" and "Sleep". Brothers in My Upper Bunk" and other urban romantic light comedies.

Qin Lan's film creations in different periods correspond to the trend and focus of Chinese film development in the new century.

  As the "home ground" of her performance creation, the TV series has a clearer and inspiring imprint over the years.

  Today, the concept of female images in domestic dramas is constantly updated. The concepts of "female group portraits", "sister learning", "female boss", "career", "sister and brother love" and other concepts that focus on women's choice and explore women's potential, are widely used in domestic dramas. China became the norm.

These tendencies have also been reflected in Qin Lan's screen image in recent years.

In her works, her character identity is usually an intellectual and beautiful industry elite, gentle and firm, overcoming obstacles and striving to realize her self-worth.

Even in the costume drama "Strategy of Yanxi Palace", the most tangled issue of Rong Yin, played by her, is about self-awareness, that is, the true nature of human personality is imprisoned and destroyed by identity and etiquette, and it cannot be defeated or succumbed to.

  More importantly, Qin Lan's character and other female characters in the play have mutual appreciation and understanding, and each has a beautiful friendship. It has also become the normal plot of current national dramas to promote the friendship line between women.

Specifically, it can be expressed as a mature elder sister becoming a navigator and a safe haven for young women. For example, in "Story of Yanxi Palace", a lot of space was devoted to portraying Rong Yin's kindness, love and teaching to Wei Yingluo (played by Wu Jinyan), and Rong Yin was also attracted by it. Wei Yingluo is regarded as her sister, and even if Yiren has passed away, she will always be remembered by Wei Yingluo.

In "Blame You For Being Too Beautiful", the perverted and vulnerable traffic star Lin Xiang has the only person he trusts in work and life is Mo Xiangwan. One of the reasons for Lin Xiang's mental breakdown.

Another manifestation is the evenness and mutual sympathy between mature female characters, which can enhance the character's realm and enrich the character's facade.

For example, in "All About Doctor Tang", Tang Jiayu and Ouyang Zhenyu (played by Gao Lu) developed their friendship from "not dealing with" to "good girlfriends".

Judging from Qin Lan's performance, Tang Jiayu's state is more relaxed and free in front of Ouyang Zhenyu. The design of some small movements, small expressions and small jokes makes the two's opponents play a kind of girly naughty and smart, showing the romantic feelings of women in the workplace. and open-minded.

  Although the roles are big or small, we are happy to see that Mesozoic actresses like Qin Lan can continue to star in film and television dramas, which corresponds to the increasingly rich and diverse female images in domestic film and television works.

After all, roles like Mo Xiangwan and Tang Jiayu are not suitable for young "little flowers".

And that calm acceptance and face of age and gender issues belongs not only to the role, but also to Qin Lan herself.

  (The author is a postdoctoral fellow in theatre and film and a lecturer at the Film School of Shanghai Theatre Academy)