China News Service, Beijing, March 12 (Reporter Lang Lang) Recently, the acting skills of young actors have triggered heated discussions.

　　Previously she was Anna Yao in "Hunting Ice", but now she is a group of actors in the variety show "Infinite Transcendence Class" which is said to "help artists train their acting skills and understand the core of their characters", and another "famous scene" was born.

　　The performances of Zhu Zixiao and Xiang Zuo made the judges look embarrassed. The physical discomfort caused by Ji Lingchen's performance made the audience not know whether to feel sorry for the actors who acted with him on the stage or to feel sorry for themselves.

  The picture shows Ji Lingchen (right) and Ning Jing playing together.

Source screenshot

　　Xiang Zuo's response was: Because of family problems, he didn't have the space to act, but he worked hard and practiced in seclusion for seven years without looking at his mobile phone.

　　Ji Lingchen, who was originally a model, said: "Crossover never means a shortcut, but a hundred times the effort and a thousand times the effort."

　　Putting all these things together, it just reflects one of the weird aspects of domestic entertainment: on the one hand, actors keep sharing their difficulties, including how many words of biographies they have written, whether they have used stand-ins, how much training they have gone through, and what they have sacrificed for their roles. …

　　But on the other hand, the audience doesn’t buy it.

Rough, awkward, exaggerated, and routine performances have become frequently used words to complain about acting.

　　So, what kind of actors do audiences need?

　　The first is basic skills.

As we all know, performance requires actors to shape characters and convey emotions through body, expression, voice, etc. The stage shape is the most basic.

　　Some time ago, some netizens edited many dramas together, erased the subtitles, and compared the line skills of different actors.

Some viewers discovered that some actors could hear clearly even without subtitles, while others could not speak clearly, let alone be expected to convey emotions.

　　For an actor, how can he have solid and stable output and innovation if he can't even control the most basic things?

　　Secondly, actors serve the role.

No matter what kind of face it is, what the audience expects is to see a story on this face, which can outline vivid life and more specific situations, project some kind of care, and arouse people's resonance.

　　In "The Legend of Zhen Huan", the several crying scenes of Zhen Huan after the death of Shen Meizhuang are praised over and over again because the face, besides being beautiful, arouses people's simplest emotions. Everyone who invests in watching the drama Everyone will feel the progression of Zhen Huan's grief.

　　Actor Liu Tianchi, who has extensive experience in performance coaching, once said in an interview: "The end point of an actor is to live in the play in the name of the character." This requires actors to truly live, rather than experience a certain profession or scene for a few days. , I dare to say that I have prepared for the role.

　　Among the high-profile discussions of "Flowers", many topics are related to actors becoming characters.

It took Xin Zhilei two years of dance lessons to understand why "Li Li" was so charming, and Tang Yan lived in the world of "Miss Wang" for three years.

　　The famous actor Lu Zhong said when giving lessons to young actors: "You cannot look at a person abstractly, but you must put it into concrete life."

　　Nowadays, the team of actors is getting bigger and bigger, but outstanding actors are not common.

We do not deny that audiences will be more tolerant because of beautiful faces, but as everyone’s discernment and aesthetic standards become stronger and higher, if an actor does not speak for his work and does not have a convincing role, this job The generous ceiling is also visible to the naked eye.

(over)