Best Actor Wants To Stay With Me

"Experience School, as the name suggests, emphasizes the deep experience of the actors’ inner emotions, and integrates the actors’ hearts and roles. The famous Stanislavsky’s "Actor’s Self-cultivation" is. The method school is that actors use their bodies and Expressions to express the inner heart of the character require that the performance of the character is consistent with the performance of the character regardless of the front and back of the stage. The famous representative is Marlon Brando. The expressionist is to distinguish between self and character soberly, not only to be close, but also to understand that the role is a role, and you are Self. Emphasize the form of physical movement and focus on the outside."

Every time the theoretical knowledge is studied, it is the easiest to doze off. But Bo Yan didn't want to drop the book bag, but just to ask her: "Which situation are you?"

After Xia Siyu answered, he could teach her in different ways in various schools, and it would get twice the result with half the effort.

Xia Siyu hesitated: "The first kind."

That is the experiential school, which integrates your own experience into the character and uses your own life experience to experience the feeling of the character.

No wonder she played in chick movies, but because of self-substitution, the role also has a soul. Although the proprietress of "The Tempest" is a bit more charming and enchanting, she also has a personality that dared to love, hate, and talk about one thing, which is a composite of her personality.

Bo Yan said: "There is nothing wrong with the experiential school. The problem is that you want to create different characters, some very full characters, you have no life experience, and no experience. It is impossible to get close to the hearts of these characters by relying on your own imagination. The world, this is your flaw."

The role of "Spring Light" she is going to play is a daughter of a capitalist in a special age, a female college student in a big city, and an intellectual woman who has been persecuted in her family. It is not difficult for a capitalist daughter to act, and female college students also have to act with arrogant books. As for experiencing the hard life in the northwest mountainous area, she can also do it. But it was a special age, with thoughts colliding, confusion and persistence, pride hidden in the body.

There is also the feeling of the male lead.

The male protagonist and the female protagonist didn’t know each other before—it’s not right to say that they didn’t know each other. The male protagonist was instigated to do something that many impulsive young people did in that era, and he took someone to criticize the professor. And this professor is precisely the mother of the heroine. But before the smashing, the male protagonist repented and did not continue to attack, but his other partners followed and injured the female protagonist's mother.

This is the fuse of the matter.

After the university was suspended, the male lead followed home and met the devolved female lead.

The two have hatred, but because they are the only people in the area who can talk. The male protagonist learned knowledge, and when he returned to the local area, he was regarded as a bad guy in the black five categories, and was conquered with the female protagonist. The same situation brought the two closer together. After driving away the hooligans who bullied the heroine, the hero couldn't help being a hooligan and forced her.

The hostess loves and hates him. When facing the villagers' crusade, she is unanimous. She has no emotional communication with each other except staying overnight in private.

Finally the heroine returned to the city, and the child was thrown to the hero to deal with it. The male lead guards the small room where the children lived with them, and waits for the female lead to return day and night. But whether the heroine will come back, only God knows.

In fact, after reading this script, Bo Yan felt that this was their portrayal.