Basic skills that opera actors must practice well.
Pay attention to opera performances? Hands, eyes, posture, steps? Hands, eyes and steps are easy to understand, and only this method is difficult to understand. Below, I will share the basic skills that opera actors must practice well. Come and have a look!
The heart should be full, but it doesn't make up when it is full.
The inner enrichment of an actor refers to the accumulation of life, hard study and technical proficiency.
An actor can't be full of heart without a foundation of life. Therefore, actors are required to go deep into life, understand life and refine life. Different characters should be further analyzed, not fabricated out of thin air. The enrichment of an actor's heart is by no means a fabrication. The so-called actor has a rich imagination, but also depends on what he thinks. Those ideas that are divorced from reality and characters are called fabrication. Actors should think according to events and personalities. Otherwise, it is a fantasy. Take two plays as examples: one is pulling a pulley, and the other is Changbanpo.
Some actors want to play Gao Chong well. He thinks his imagination is very rich. So, in the first scene, Gao Chong sent Yue Fei to be a military commander, but he was anxious not to send himself. The play is called "The Trouble of Counting Accounts". You Yue Fei will make trouble again. Why don't you send me Yue Fei and let him keep the flag? This is very important. When the national flag falls, morale will be chaotic, so I want Gao Chong to see this big national flag. I came back after going out for a trip. I remembered that I didn't bow to Marshal Yue, so I came back and bowed to him, then bowed here, bowed there, and pointed out the direction after going out. Can you drive me? Hahaha! ? One laughs, the other covers his mouth. The actors themselves think they are right, but in fact these actions are all wrong. Let's analyze: Gao Chong is a brave soldier, very arrogant and very capable. If Gao Chong had been so considerate and didn't bow his head for fear that others would find him laughing, he wouldn't have picked the pulley that rolled down from the mountain at all, and those actions shouldn't have appeared in the scene of "Busy Accounts". This action of covering your mouth is not Gao Chong, so the choice of this action is called fabrication, not fullness, because he left the role.
And "Changbanpo", I heard that Mr. Yang Xiaolou, how did he play Zhao Yun? Four walk-ons, one stop, he slipped away with them. Later someone said:? How did this boss of Yang Xiaolou Yang Da fail today? Someone played Zhao Yun, and it was four dozen. No matter how you play, he is beating gongs and drums. Bang! As soon as you come out! ? I'm Zhao Yun! ? But it's wrong to want to fight like this, because Zhao Yun has made no achievements since he was borrowed by Liu Bei. Now let Cao Cao chase, from Xinye to Fancheng, from Fancheng to Changbanpo, let people chase and fight. He can't fight back because he has a main task: to protect his family, and the most important thing is to protect Liu Bei's son Dou. If this is lost, he will die. So his task is very important. So, you can't hit four heads at first. He went in and out of Cao Cao three times, looking for Liu Bei's son Dou lost by Cao Bing. When I entered Cao Cao, I didn't find it. I went to Cao Cao twice and three times to find the sinus. He is by no means a personal hero. It's a joke for people to see me, Zhao Yun, going in and out of Cao Cao's camp just to complete the task. Later, he was saved by Xu Shu (the story about Xu Shu will be told next time). So Zhao Yun can't show his hero. He is not Gao Chong, Gao Chong is a fierce student, and Zhao Yun is a Confucian scholar. This is the difference between two people. You can't abandon the characters and consider your own actions. Making it up is not fullness. Therefore, actors can't abandon people and events when considering problems. They should further analyze and enrich themselves according to the requirements of the characters and scripts, so that they can live with flesh and blood instead of thinking casually.
We should play, not play aimlessly, that's a joke. Two waves, depending on how you play, one wave is aimless and groundless. Wave? , which belongs to the establishment; There is a basis and a purpose, so playing is the real creative character. It is necessary to dig out the inner activities of the characters, chew them up, melt them, practice them constantly, and then go deep into life repeatedly to extract good things, so the heart is the main thing for actors.
Relax all over, loose but not soft.
Actors should relax, but if they are loose, they will become soft. Relaxation and softness are two different things. There is a degree of relaxation, which requires actors to be both rigid and flexible. They can't be soft when they relax, and they are all slack. This is unacceptable. Therefore, the physical training of actors is also to reduce the burden and let you use it freely. In order to prevent actors from bringing their own problems to the stage, actors are required to be well trained: your role is required to be big, small, fat and thin, which is different from your actor himself. It can't be just language (of course, language is also very important). Language should be consistent with the body, body and mind should be consistent, and actors should not be rigid and lax, so that you can be both rigid and flexible, but not lax. Of course, there are also stiff figures on the stage of Beijing Opera, such as the overlord in Farewell My Concubine and Li Yuanba in Siping Mountain, all of which are quite special figures. The overlord is the emperor at once, so his elbows are parallel, and his shoulders, elbows and hips are parallel. This is a special role. Generally speaking, people should relax and exercise. The growth of an actor, I think, is from natural to unnatural, from unnatural to highly natural. Freedom in life is natural, but once you enter school and let you reflect on your life, you are unnatural and need artistic treatment. Speaking of sports, it is unnatural to eat and drink, and then it is unnatural to reach a high level of nature. So it is necessary for an actor to practice freely on the stage.
One hand should be changeable, moving without disorder.
Hands should be ever-changing, but you can't move. Why? In the training of our traditional Chinese opera, let your eyes look at your fingertips and watch your fingertips point so, but your fingertips don't look back, and your eyes are not allowed to look back (for pointing). But can you do it on stage? I can't. So training is to surround the training of actors, which is different on the stage. On the stage, you should never look at the tip of your hand and pull your arm, nor can you: listen to me? (doing actions), is it inappropriate? So, you can't do this on stage.
In life, palms are different, so we should pay attention to these problems in performance. For example: you hate this person, how do you stop? The general habit is to point down with the palm of your hand. What's this called? Angry fingers? . Give him a hand (gesture), at least show that you are not satisfied with him. No, don't go! ? This is an angry finger. You can't put your fingers up, if you do, they will change again. Palm down: you! Let's go ? However, once the fingers are tilted upward, they are covered with the elements of love, which is called love-hate relationship. There are more elements of love, but fewer elements of hate.
For example, if you hate your child, you hate him. Why do you always do this? Obviously this is a good piece of iron. If you can make steel, you can't do it well. You! ? This time, I'm afraid a finger poked my head, so he pointed: you, the child! ? (Action) For example, Mr. Mei Lanfang pressed Xu Xian in Broken Bridge, which means that love and hate are intertwined, and her hand is pointing up: Why do you keep hurting me! ? Just one finger? Yo, don't fall? She is afraid of losing him, so it means love and hate. It's called. Hands should change, move without disorder. ?
What do you mean palms up? When I say palm up, I usually call it palm up. Ask your fingers? . For example, the old man asked the child:? Why do you look familiar? Who are you? Oh! Yes, yes, yes, that's you! ? He is kind. If your palm is facing down, it's you! ? Ok, scare away the children, this won't work, because the palms are more intimate and floating. Hello! Where have you been? ? Palm up, never down.
Palm to the left, I said scream? Flirting fingers? I'm joking with someone, so I mean him (action), you! ? Don't use words, just joke with him, you must never,? You ah! ? (Action) This is not good, that is not good, it has to be like this. This is teasing and joking.
What about the right hand? What's it usually called? Laughing fingers? Irony and satire informal refers to. You are dissatisfied with this man, he is bad, you just: who (action) shows contempt.
Of course, things like this may not be accurate, but I want to remind you that there are many things in life that are not all the same fingering. So pay attention to refining from life. I said it's important to have a deep understanding of life. If you don't understand life, you can't refine it accurately, but you can't copy it, and you can't achieve the effect of stage performance through artistic processing.
You see, palm down, palm up, palm left, palm right, palm forward, palm backward, all different, all with words. Therefore, we should strictly train our hands at ordinary times, use them well on the stage, and we should not forget those in life. Some actors don't know where to put their hands when they get to the stage, which is not good. This is the inflexibility of the application, not good!
Also, why do you say that? The hand should be changeable, moving but not chaotic, because it leads God, and the hand plays the role of rudder. If you don't know how to use it on the stage, you will scratch your head. No, the old man will call the actor's hand aimlessly. Emblem , how do you call it? Emblem And then what? Writing style. What style is it, Liu Ti? What is this graffiti? Take a piece of yellow paper and a cinnabar brush to draw a picture. Drink it. ? This is not a fool! He didn't scribble and didn't know what it was. It's like our actor's hand pointing back and forth aimlessly, which is called scribbling, disorganized, soulless and thoughtless. So don't point fingers. Because the audience's eyes follow your finger, when you point, the audience can't see it, and their attention is not concentrated. So, your hand can't move, but your finger means you have to move again.
Ears should be sensitive to ears, sensitive but not greedy.
Actors are afraid of greedy ears. Sensitivity and greed are two different things. Sensitivity is to adapt to everything that happens on the stage. If an actor doesn't pay attention on the stage or plays wrong, you have to adapt. This is sensitivity. But don't do this, okay? Lick your ears. When you perform there, the audience's thermos bottle is dropped. If you watch, the audience will be in an uproar and the whole trick will be ruined. So people who don't belong to the stage also listen and watch indiscriminately. What is this called? Lick your ears? . The actor's ears are greedy and out of character, so it's fake. Although he saw you crying, he was fake and you were not in the play. The actor's ears are too greedy to enter the play, a false performance. Because of your inattention, you have no attitude towards what happened in the play, but? It's my turn to read, okay, I'll read it? , ? What did I say to you? It's not good. This is a performance. So, actors should pay attention? Ears should be sensitive, sensitive but not greedy? .
Step by step, practice walking, walk without jumping.
Our running on the stage is a sports race. As soon as our heels leave the ground, it's called a foul. Don't leave your heels on the stage, walk regularly. Why practice rounders? Just to keep the upper body stable, don't run like in life, be artistic. Therefore, walking is very important.
From ancient times to the present, different clothes, different ways of walking, different shoes and different ways of walking. Walking in all walks of life is different, because of the relationship between occupation, location and nationality, walking can not be the same.
For example, lesbians wearing high heels and cloth shoes are completely different, and their focus is different.
Different regions, different nationalities. For example, when a Mongolian walks, he shakes his sides and his legs are pulled out to walk. Because he often walks in the desert and rides camels, he always pulls like this, so his habits are different.
For another example, different occupations lead to different paths. A ballet dancer. He walks with his head wide open. Why? Because he has to fall off his ass when practicing basic skills. So his profession makes him walk like this. We are engaged in Peking Opera. We usually practice the small eight characters and walk the small eight characters. Different occupations take different paths.
Times are different. For example, in the Qing Dynasty, when walking, the upper body drives the lower body. If the lower body drives the upper body, it is called wading and wading into chains. This is because water and shackles have resistance. Braids in Qing dynasty are very important. All silk tassels. In order not to let tassels swing when walking, his lower body is formed to drive his upper body to walk. Women in the Qing Dynasty took different paths from those in the Tang, Song, Yuan and Ming Dynasties. During the Tang, Song, Yuan and Ming Dynasties, women were stiff and talked about three things: moving without revealing their fingers, walking without revealing their steps, and laughing without revealing their teeth, so they all buckled their chests when walking. The Qing dynasty was different. She wore shoes with flowerpots at the bottom, so she naturally walked with her chest out, didn't she? This is because different times and different clothes stipulate that he walks in different ways.
How do we go? How to reach snack vendors, small business vendors, hotel vendors or restaurant vendors? Look for their characteristics. How can I get there if I am drunk? Let's use it on stage. Sometimes, I see someone walking around on the stage drunk. Is it like being drunk? I don't think I'm drunk. I've never been so drunk in my life. In life, I always get drunk first in the back of my head. When the back of my head is drunk, I lose control, so I have to bow my head and always want to have a stick behind me. He doesn't walk like this (alternately doing two different postures). Why do you want to throw up when you get dizzy? I have a fever and my legs are weak. So my drunk brain is out of control and needs support. We need to understand this truth, and you can study it again. You can refine this drunken step and make it artistic. Don't look for the main points like the real thing. Drunk step or cloud step needs practice. Get on buses, trains and ships. It is impossible to put the train on such a big stage. The train is on the side curtain. Can't you swing? Goodbye! ? That is, if the train is going to turn over and the upper body can't move, you need to walk in the clouds. When the upper body doesn't move, it will come. You need to practice every step. You might need it, right? If you don't learn now, you can't.
Bite crunchy, don't shout.
Read the actor's lines. Sometimes actors shout when they are angry, and when a play comes down, their voices get sleepy and there is no time. You are required to speak clearly, and let the audience hear clearly no matter how the words are pronounced. Loud, low and minimal sounds must also be absorbed in the back row. If an actor doesn't practice breathing, has no resonance sound and has a stuffy mouth, he can't pronounce words clearly and chew them badly. Don't chew words, don't chew words, don't bite words, speak clearly so that the audience can understand.
Especially drama actors, just want to memorize words. If the pronunciation of words is not good and the audience can't hear them clearly, they should practice memorizing words. Here are a few rules.
What do we pay attention to? Prefix, belly, suffix? That is to say, through the beginning sound, abdominal sound and ending sound. Is this training an actor? Gas? The gas should be uniform. Reading words clearly depends on prefix and suffix, pronunciation and radio station. Pronunciation must be accurate, the radio must be stable, and the sound is transmitted to the end of the word through the belly. Therefore, if an actor's pronunciation is not good, it will change easily, his speech is not neat, and his prefix and suffix are not particular. So pronunciation and broadcasting are more important.
Of course, there are also sharp words, and we should pay attention to individual sharp words. The pronunciations are not necessarily so particular, but you should understand that pronunciations can be pronounced clearly. There are also five tones-lips, teeth, throat, teeth and nose. These five tones are inseparable from the four tones. Four sounds are not allowed, and five sounds are not allowed: teeth bark, mouth bark, mouth bark, mouth bark. Sometimes articulation and pronunciation are closely related to the four sounds. And mouth-to-mouth shouting, like one? Bow? Words, weapons are accents, and you need to pinch your mouth. Gong? You don't need to pronounce words so heavily, you need to keep your voice down, and keeping your mouth shut. I respect you? If you want to shut up, it is not appropriate to pinch your mouth, but to use it properly. Sometimes you can't speak until you shut up, can you? This? No? I don't know if it's appropriate, but it's on and off. Cheek to toe is talking through your teeth. In order to pronounce correctly, it is necessary to study hard. For example, there are four rules here: pronunciation, stanza, sentence and meaning, rhythm, sentence and meaning. ? Accurate pronunciation, complete pronunciation, complete sentences and coherent sentences? This is the law of pronunciation. Because our lines are rhythmic, the sound is not broken and the festival is not chaotic. With a sense of rhythm, you won't confuse the sentences, but you can stick to the meaning. Once the sentence is confused, we are allowed to leave this meaning. This is the whole organic connection. If you don't master this rule well, your pronunciation will not be clear. Therefore, we should master and make good use of this law.
There are thirteen other ways.
It is divided into: Middle East Withdrawal, 17 Road, Talking about the previous road, Ashui Road, Begging Olive, Remote Road, People's Time, Flower Making, Huailai Road, Sobo Road, Yaoxie Road, Gusu Road and Jiang Yang Road.
Easy to remember, I made up thirteen words for it, one for each word:? Go east, west, north, south, and look at the people who come to pick up girls. ? There are thirteen ways.
Four more times, and we'll all? Up and down? Okay, but? Up and down? This is regular:
Level one, level one, level one, level one
Finally, I screamed at Gao Lieqiang.
One by one, the voice is clear and sad.
Enter the tone, make a short system, and hurry up.
Make it short, and return it as soon as it comes out. There are more modal particles in the south, aren't there?
Sometimes at around seven o'clock in the morning, students shout, just like these four sounds: mom, ma, ma and scold. I can hear these four sounds every day. Sometimes we don't pay much attention to a problem. Take a message? . I call it? Take a message? Is it? Hmm? ,? Really? ,? Wow? Sometimes, words are passed around and you can't read orthography, for example, you ate, you ate, and you didn't. Wow (emphasizing the words in this sentence) How ugly is this? Isn't it? So how bad it is for you to pronounce orthography. Have you eaten? Wow, it's over. This problem is easy to occur if you don't pay attention. ? Hmm? Does it have four tones? Uh-huh, uh-huh, uh-huh, huh? These four tones have four meanings, not one meaning, including stop, understanding problems and so on. So we should pronounce it colloquially, not rigidly, it should be natural, but sometimes for these? Take a message? If you don't pay attention, there will be many problems, which will damage the role and make people feel that the actors are not acting there, but reciting their lines there. So we practice these in order to be able to use them freely and extract some good things. If you want to find out how to practice the law, you will get the knack. The trick is acquired through constant practice. On the one hand, what others teach is more valuable, and it is more comfortable to find it yourself. Moreover, the laws you find need to be applied in practice.
One eye should be flexible and live without leaving.
The actor's eyes are very important, so pay all the attention of the audience to your eyes. It used to be said: a thousand poses return to the eyes, and ten thousand moves return to the waist? A thousand performances, the eyes are the headquarters, and 10 thousand movements, the waist is the headquarters. If a person's waist is broken, he can't walk or even lift his arm. Make you consistent from top to bottom, all on your waist, but in your eyes. Don't people often say that the eyes are the windows to the soul? Really? Peking Opera said:? Eyes are seedlings in the heart? It can reflect all problems and express complex emotions. What does the actor use to unite the audience? Through the eyes.
Don't look away, stare instead of opening your eyes. It doesn't matter how big your eyes are. For example, it means that this person is sinister and sinister. If you stare into his eyes, you will look murderous, but if you open your eyes, you can't do it. So, be sure to stare, gather energy and concentrate.
The importance of eyes to performance can also be illustrated by the situation of the blind and the dumb. Blind people, especially those born invisible, don't know the shape of everything in the world and the expressions of others. Over the years, his own facial muscles have been necrotic. He knows opera and erhu, but no matter how good he plays, he can only thank him with a straight face. Mute is different. He has something on his mind, doesn't he? He plays dumb, so others can't understand him. He tried his best to make you understand what he had to say. Look at nothing but his eyes. His eyes are fine. He wants to tell you everything through his eyes. Express his feelings, his inner activities. Therefore, actors are required to exercise their eyes and make them flexible. Of course, drama is different from Beijing opera, and there is no need to roll your eyes like Beijing opera, but you have to understand this truth.
Another example is the way a person looks at things at night. This is what we often encounter in acting. I can't see my fingers. what do you think? What about moonlight? Moonlight is like water, why must it be blocked to see clearly? For another example, as we all know, during the day, you see things first, and then you hear sounds. During the day, you watch the football match, the ball goes out, and then you hear the sound. At night, you hear the sound first, and then you see things. Therefore, when you walk in the aisle at night, you don't turn around immediately when you hear the sound, but when you find your position. Another example is that I can't sleep all night. How can I see things? Are you still staring when you go on stage? That won't do. What if you look far away? What if you look carefully? What if I look up? Looking down? We should observe and study it well.
Generally speaking, the law of looking is to flash away, look far, approach, look high, pull low and pull low.
Far away, you are performing on the stage, and the other party is not on the stage yet. Look at him coming from a distance and running in a hurry. The more you dodge: Who? who is it? The farther he looked. Slowly, you passed by this flash. Oh! Him! ? Bend over it. It's in front of you. So, by blinking and leaning, you pave the way for those who don't play. You can't let him go far, so you lean over. That won't do. Bend over It's in front of you. You should give the audience a sense of being far and near through your flashing.
If you want to look high, look high. Look up. There's movement up there. Be sure to withdraw. Look up, or something will fall and hit you. If you look down, you have to pull it out The more you pull it out, the lower it looks. There is a saying:? Smell the flowers, suck the pulp and lean against the railing? , what's your name? Three risks? . You can't smell the flowers with your nose, there are bugs in them; You can't just eat bone marrow when you chew bones. It doesn't rot, it contains bacteria. It's quite high against the railing, and you will die if you fall, so these three things are quite dangerous. For example, if you stand on a 50-story building without railings, do you dare to look down from the side of the house? The car below is like a gadget. If you dare to look at it that way, you won't. Look at it this way, if no one pushes you, you will fall. There is something wrong with the heart and the blood pressure is higher, which is even worse. Most people think so. (making a backward gesture)? Come and see, such a small car. ? He fell back, there was still room behind him, and he ended up lying down on his face. Life is like this. Why do some actors perform on the stage? Look at that cave! ? He sees it this way, doesn't he? It's not true!
For another example, there are spies following you, but because there are no facts, I dare not arrest you rashly. How could he lie to you? Hey, Yin Yuanhe! ? If you look back, hey, yes, it's you. Come on! ? He took you away. But if you feel someone behind you, don't ask him to shout, just? Why (become speechless) so much damage to the hero image. You want the audience to think that you are turning around, but you are not really turning around. How to use it? First of all, my heart must go back, my eyes droop (look down), and I feel that I have caught him, but I can't turn back or become speechless. First, the heart should retreat, then the eyes should go down, and basically the shoulders will be crooked. This is exercise, and so is life. We need to think about it. In short, use your eyes, don't exaggerate, and don't dance on the stage. If we don't move at all, just perform through your facial expressions, and the audience will feel more comfortable and not tired, so exercise and use your eyes well.
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