Xu Rong picked up the pen and slowly wrote after the "second" that had been written:

, view the relationship between me and “I” with dialectical thinking.

Objectively speaking, admitting that my moments objectively exist and are bound to exist during the performance (from beginning to end) has completely violated the highest goal and theoretical basis of "experience". Then using "experience" to summarize this method seems inappropriate.

So to put it another way.

"Harmony" or "harmony".

The concept of harmony originated from the Chinese pre-Qin philosophical thought. Guanzi said, "The big one has no outside, and the small one has no inside", "The inner classics say, "The qi is combined and has a tangible shape", "The heaven and earth are combined and the qi are called man", "The Yi Zhuan" says, "The essence and energy are objects, and the wandering souls are changed", "Zhuangzi" says, "The one qi in the world is connected" and so on. This idea is widely accepted by various pre-Qin schools and runs through every corner of the land of China.

The ideas of these different schools of thought reflect a similar philosophical basis. Everything in the world is composed of the tiniest particles, "qi", "element" or "element", and the qi divides yin and yang, the interactive movement between yin and yang, and the transformation of the five elements and even all things in the world. This is what Taoist calls the so-called "one birth two, two birth three, and three births all things" concept today.

This philosophical concept permeates all aspects of the production and life of the Chinese nation, from the governance of the country (law and morality), to the humanities (feng shui, etc.), natural science (Traditional medicine, etc.) and daily life. Taking law and morality as examples, law and morality seem to be opposite sides, but in essence, the law reflects the public's call for morality, and the realization of morality requires the public's consciousness, and the law is the ultimate means to realize this consciousness. The two forms of existence are opposite and mutually transformed.

In ancient Chinese philosophy, yin and yang are the two sides of everything, interdependent, fighting and transforming each other, and transforming all things. This dynamic balance of dependence, struggle and transformation is called yin and yang uniformity or yin and yang harmony, abbreviated as harmony.

Then, based on this simple dialectical philosophical thinking, a bold assumption is proposed: the relationship between me and "I" should be in a state of "harmony".

Let’s take “The leader is a thief” as an example. When I said this, his smile appeared in my mind. Is that the only thing?

This involves a key point in life that is not very concerned. When the group leader’s thief smile appeared in my mind, in essence, I already felt his mental state at that moment.

By extension, the characters' shoes, pants, coats, walking postures, and even the ups and downs of their tone, etc., appearing in my mind, not only concrete objects, but the characters' personality and external presentation form of spirit.

Performance is a type of artistic creation. Like other artistic creations, they are created through various materials. The difference is that one is performed through various tools and materials, while performance is performed based on itself as the material.

Fu Zai's article is not well known, but it provides a specific methodological idea for my assumption. From past experience, it can be summarized into the following three points:

On the one hand, this face, or "I", is composed of my life experience and cultural literacy, based on the script settings. Secondly, "I" relies on me to control the materials, that is, my body completes the actions in the prescribed situation.

Van Gogh painted sunflowers. He did not draw a specific sunflower, but painted the sunflower in his heart.

The creative process should be progressive step by step. Today I see a little secret of my heart. Tomorrow, I may see the flash of my eyes again. Maybe one day I suddenly see a trace of white hair on my head and shoes I often wear on my feet.

Secondly, what exactly is "I" like?

After the dialectical relationship between the two is determined, then a specific methodology is involved. All concepts that do not provide methodology are fake and empty, and they are all hooligans.

But as artistic creation, realism alone is not enough, but is it a romantic element that pursues realism that influences artistic creation?

From a speculative perspective, you can even make a judgment like this. When realism reaches a certain level, it is romanticism.

Innovation is not about pushing down, destroying, and then re-establishing all the old things. This does not conform to the objective laws of the development of things (the negation law of negation). For example, the method school is based on experience.

This sunflower is a sunflower mixed with the painter's subjective will. It can be concluded that before painting horses, shrimps, and sunflowers, the painter must have carefully observed a large number of real objects. Close your eyes and can clearly imagine the various forms of existence of each part of this kind of real object.

The nature of the artist’s analogy is similar. In the entire creation process, whether it is rehearsed or performed, my existence should not be eliminated, nor can it be eliminated. However, it is not just using one’s own body as the material for creating characters, nor is it just using one’s own thoughts, preferences, and interests to replace the characters for action. Instead, it is trying to get close to "me", understand "me", and treat "me" as the closest person, such as a wife and a child.

My assumption is that through adjustments to "yin" and "yang", I finally achieved a state of harmony. For example, during the rehearsal of "Home", I was committed to strengthening the existence of "I" and eliminating my own influence, but the performance did not reach the best.

At this point, it is necessary to unify the actions in the context specified by the script with the ideas of specific groups, and find reasonable motivation for each action.

In short, the "I" must be made clearer in my heart, and finally the phenomenon of "the leader is very thief" appears. Only when "I" appears in my heart can I live like "I".

The creation of characters cannot and should not be achieved overnight unless the script is tailored and the actor plays himself.

At that time, "I" lived on the stage with a new mindset, while I was fighting physical fatigue with all my might, hoping to devote myself to the experience.

Still taking art creation as an example, Tang Renren Fu wrote an article "A picture of Zhang Yuanwai's paintings of pine and stones in Jiangling Lu Shi's house banquet", which describes the scene of painting by the painter Zhang Ju. He felt that when Zhang Ju painted pine trees and stones, it was "things are in the Ling Mansion, not in the ears and eyes", so he could "get it from the heart and be in the hands". There was no hesitation in the brush and ink, so he could draw "pine scales, stones, rocks, water, and clouds". It is not difficult to see that the dynamics of pine, stones, water, and clouds are all in the hearts of the painter.

With this question, go to the script to find it. This is the creative premise that every script must explain. Take Cai Tianming as an example, a smart, cruel and decisive drug lord.

So let’s change to a more scientific and modern term, materialist dialectics.

They are very clear about the crimes they have committed, so they are always highly vigilant whether they walk, sit or lie down. For example, if they have not seen each other for many years, it is always the safest to position this as an undercover agent first.

In art creation, the relationship between form and spirit is roughly equivalent to the relationship between "I" and me.

Of course, "the harmony of Yin and Yang" is a philosophical concept born in the pre-Qin period in China, and is also adopted by traditional Feng Shui theory and becomes its theoretical basis. Therefore, it is often mistaken for contemporary people as "fictional" and even "strange powers and chaos", which is difficult to convince the public.

It can be said that the traces of my existence are more obvious than usual, and the theoretical effect of the performance should be worse. However, judging from the feedback results of the performance, especially the evaluations of some industry peers such as Teacher Lan Tianye and Teacher Zhu Xu, it seems to be the opposite.

According to the methodology of experience, it is OK.

Cai Tianming's group has different experiences, but their backgrounds are often surprisingly similar. They are poor, otherwise they would not have embarked on this path of illegal crime.

After being arrested by Zhang Lei, Cai Tianming's decision was to obtain freedom at all costs. It was not enough to have courage to obtain freedom. It also required calmness and meticulous thinking to slowly weave a big net that will kill everyone together.

In this process, I exist everywhere and is indispensable.

In other words, in this process, the movement of yin and yang has a common goal and forms a unity of opposition and unity, that is, a state of harmony.

Finally, what should “I” look like?

This is how it is to paint pineapple, let alone paint people, let alone play a living person?!

Before the second performance, I was particularly tired due to complicated matters. During the performance, I actively mobilized all my attention and tried to grasp every detail, strengthened my existence, that is, the existence of "yin", and reached a temporary compromise with "me" and worked towards a common goal.

This also proves that Teacher Su Min’s distracting thoughts are inaccurate. Although distracting thoughts cannot be eliminated, when focusing on something, distracting thoughts have no positive meaning.

When preparing to create a character, the state is quite good. The character is very sunny or cold, and a "me" face can basically appear in my mind immediately.

The leader is a thief.

Referring to other artistic creations, such as painters painting with brush and ink, although many painters do not need to refer to the real objects, they often know the real objects as they are. For example, Xu Beihong paints horses, Qi Baishi paints shrimps, especially the latter, which may not be comparable to the original objects in terms of "shape", but "god" can reach the extreme.

I have some ideas about the specific method of adjusting to the harmonious state.

Secondly, even though the screenwriter portrays a completely "live" person, with clear actions and clear motivations, can I really completely copy this character?

"The Inner Classic of Internal Medicine - The Great Treatise on Yin and Yang's Response to Elephant" says that water and fire are signs of yin and yang. From the perspective of yin and yang, I should belong to "yin", and "I" should belong to "yang". That is to say, when a pair of specific things compares, the characteristics of water belong to Yin, and the characteristics of fire belong to Yang, I am concrete, objectively existing, and static, while "I" is abstract, imaginary, and change at any time, corresponding to the two characteristics of water and fire.

With this question, search in life, and through experience life, deep into life and even life, integrate into the specific groups of characters, understand, feel, and converge with their state of thought.

Then put the difference in the concepts of experience and harmony aside and talk about the most common phenomenon in daily life.

So I think that in the creative process, realism still needs to be followed, that is, to experience life, go deep into life, and based on reality.

Secondly, the basic principles of regulation.

This coincides with what I thought in the past that experiencing life was to experience the state of thought of a specific group, rather than finding typical cases.

This is a state of obvious yang strength and yin weakness.

This so-called distracting thought, to be precise, is inevitable. First of all, from the technical perspective, even if the screenwriter writes himself, he may not be able to fully summarize his own personality. This will inevitably lead to the actor's inability to fully analyze the behavioral motivation behind each action when analyzing the characters. In this case, the actor's brain will inevitably fall into a blank at some moments during the action, and enter a state of confusion, "What am I doing? Why do you do this?", which lacks behavioral motivation.

But no matter what principles, concepts, methods, performance, as an art form, ultimately serves reality and audiences, rather than satisfying one's own conjectures or just for discussion.

As I said this, the thief's smile immediately appeared in my mind.

In addition, they also have a common purpose, money.

First of all, what is "me" like?

This conjecture originated from the second performance of "Home" a few months ago. In the past, I always thought that my experience was done well and the performance status could always be adjusted to the best, but after that performance, it turned out that it had not reached the best state in the past.

The concept of harmony is also replaced by another concept, contradiction.

In essence, this "harmony" conjecture based on realism is also in line with materialistic dialectical thinking, that is, the law of unity of opposites, the law of quantity, deterioration, and the law of negation. As for whether it is true, if it is true, then the shortcomings and specific training methods are in place, it needs to be verified and supplemented in the future practice process.

Xu Rong picked up the water cup and took a sip of water. He looked at the two pages he had just written, and he couldn't help feeling confused. On the one hand, he always felt that he was talking nonsense, and on the other hand, because of the practical practice as a reference, he felt that there was a certain truth in the ghost.

However, he felt a sense of emotion in his heart. If this assumption really holds true, the system he proposed would become the easiest to understand and learn in the world.
Chapter completed!