Su Ze walked up to the podium, faced a pair of expectant eyes, and said in a loud voice: "Hello everyone, I am Su Ze. I am honored to have the opportunity to stand here and share some personal experiences with you."
"Come on, Boss Su!"
"Brother Ze, we support you!"
"Brother is so handsome!"
The audience burst into applause, especially the students in the performance class, who took the lead in cheering and the atmosphere reached a climax.
When it was quiet again, Su Ze continued: "Teacher Chen Gang asked me to share my experience. I am both honored and embarrassed. After all, I am still young and have many shortcomings. Many of you here have something worth learning from."
"But since I have the opportunity to stand here, I will talk to you about my deeper understanding in the past few years. As for right and wrong, benevolent people have different opinions and the wise have different opinions. Please correct me."
"Fighting up?" Principal Hao couldn't help laughing and scolding: "It's so elegant!"
Lin Hongtong also laughed. Veteran cadres are veteran cadres, and they are very strict.
"What I want to share today is..." Su Ze turned on the projector, stood next to the big screen and said, "How to quickly enter the scene."
As soon as these words came out, the whole place fell silent for an instant, and everyone's eyes were glaring. This is really good news.
"I think the action of entering the play should essentially be a series, or a series of combination punches. From a practical point of view, each actor actually has a different way of entering the play."
"If we break it down specifically, there should be three processes: emotional memory, familiarity with the script, and concentration."
Su Ze talked eloquently. These are the experience gained through systematic training. Today I share them without any secret, hoping to help more students.
"If we think of a certain emotion presented by an actor as a flower blooming through the body every time, then we need to build our own emotional library and use our sensitive heart and experience to support its operation."
"For example, when we perform the urge to kill, it is actually easy to go astray into a hysterical or crazy performance state."
"But many criminals feel extremely calm when they do it, and even have some excitement and anticipation. This is the biggest difference between passion killings and serial killers."
"I personally like suspense themes and am more willing to interpret the complex side of human nature. Take murder as an example. How do you accumulate such extreme emotions?"
Su Ze looked around the audience, feeling a lot of expectations, and said with a smile: "It's very simple, just beat the mosquitoes!"
"Close your eyes and imagine that you are lying alone under a tree to enjoy the cool air in the dog days of summer. At this time, a mosquito flies around your ear. With that buzzing sound, do you really want to kill it?"
"Isn't that urge to kill particularly strong?"
"This is the emotion of destruction!"
Everyone nodded, especially the freshmen, who felt as if they were suddenly enlightened. How could this happen?
Principal Hao nodded secretly, this guy is not fake and empty-handed, he is very good at what he does.
"Now what you need to do is to store this emotion and then bring it into the character. Learning to collect this emotion in life is the ability and quality that we actors need to possess."
"This is what observing life is all about."
Su Ze continued: "Just having emotions is definitely not enough. The next step is in-depth analysis and understanding of the script."
"The processing of this part requires the actors to break the script into segments. The so-called segments mean that they need to extract the main plot actions in the script, familiarize themselves with and open up the relationship between the actions and the actions."
"I am a Methodist, and I am more accustomed to using details to express inner emotions. The richer the details, the more full-dimensional the characters."
"So actors must pay attention to reading the script, especially to achieve a good cooperation state with their opponents."
"The process of everyone's research is not only about the characters in the script, but also about mutual recognition and resonance. Only when the team has cohesion can it have combat effectiveness, right?"
This sentence is 100% inspired. Looking back on the experience of the crew in the past two years, whether it is a spoon or my sister, whether it is a psychological crime or chasing a murderer in the white night, every team is very dedicated. Without the efforts of the staff, there would be no success.
There are actors who attract all the attention.
Principal Hao took the lead in applauding, recalling the scene of reading scripts every day at Renyi. What a simple and happy time it was!
"The last and most critical part." Su Ze said seriously: "It is concentration."
"I think there are two main dimensions in the field of performance: external attention and internal attention. External attention is divided into: attention time and attention size."
"Hey, do you have this secret book?"
"Did you bring a pen?"
"What are you waiting for? Write it down quickly!"
Many students start recording without saying a word. This is a trump card that will never come back if the opportunity is missed.
"An actor's experience comes either from his interaction and relationship with external things, or it acts on his own heart and presents a behavioral expression."
"Let's talk about attention time first. It's essentially a process of quickly switching an actor's focus."
"In a room, if I give you 30 seconds to observe an object and then turn off the lights, please immediately describe the characteristics of the object you observed."
"Then the time is shortened. Please use 20 seconds to focus on one detail, then turn off the lights and describe it again."
"By analogy, how fast can it be in the end?"
"Two seconds!"
"You can still give me an accurate answer."
There was a commotion in the whole place, and then it quickly became quiet. Su Ze continued with satisfaction: "I understand the size of the circle of attention to be a process for an actor to self-constantly adjust to his personal space."
"During the performance, especially the supporting roles, or the actors on the same stage who are not part of the scene, the attention is easy to run away when there is no part in the scene, but once it runs away, the quality of the character will be slack, and it is a waste of energy to refocus.
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"I can provide a method: at this time, we imagine a spotlight shining down from the top of the head, and the character stands in the center of the light."
"The actor himself seems to be in a state of loneliness, and this aperture is like a shell. You can practice adjusting the size of the imaginary aperture with control."
"Allow your attention to adjust according to the number of scenes, as if it is in a standby and active state, thus effectively saving more energy."
As soon as these words came out, the whole place was in an uproar.
"Is this the legendary one-second moment of drama?"
"Probably not, it feels more like a performance state!"
"Good guy, that sounds awesome."
"It feels so hard!"
"Nonsense, isn't it difficult to call it a stunt?"
"So this is how Brother Ze is acting?"
Su Ze and others calmed down the commotion and said seriously: "The so-called inner attention is more of a process in which actors focus on mobilizing their own emotions, centered on what they see, hear, touch and feel in the virtual environment."
"I firmly believe that getting into acting quickly may sound like a momentary feeling, but the real requirements are inseparable from long-term training and hard work."
"The career of an actor seems simple. You have to be pretty, know how to speak your lines, and just stand in front of the camera and you're done?"
"I believe this is an artistic act that can only be polished by the spirit of a craftsman."