Author: I'm Red

After writing this sentence, Xu Rong stopped the slowly flowing nib.

There are four screenwriters of "Drug War", Wei Jiahui and You Naihai are the main screenwriters, while Du Qifeng and him put forward corresponding modification opinions or design individual plots based on their respective experiences and experiences.

It was also this time that he participated in the discussion and creation of the script throughout the whole process that gave him a clearer concept of what script might be popular and what scripts could not be popular.

Every character's actions, including joy, anger, sorrow, happiness, birth, old age, sickness, death, etc., should conform to the character's own logic.

The second is creativity. There is a more typical example. A good novel may not be adapted into a script, but a good script can definitely be adapted into a novel, because some content in the novel, such as "terror" descriptions, cannot form actions in a prescribed situation.

He felt that "Drug War" was not just his first film in the true sense, but the impact it had on his career was much more than what he saw now.

He passed the contents of the writing until the last sentence "It can be seen that Cao Yu is at best a first-rate screenwriter." He hesitated for a moment. In the past, he wrote a summary because he never considered letting others read it. He often wrote whatever he wanted. Sometimes he would complain about his colleagues and even criticize and even despise some acquaintances.

But now he has to worry more, because as his status in the academic world becomes higher and higher, his notes, especially his performance summary, will not be sorted out or even compiled in the future, and will be included in the "Fifth" planning textbooks for general higher education. Some of his self-righteous humor may inevitably be interpreted in various ways by others, which will cause unnecessary troubles in vain.

In essence, he has no intention of belittlement at all for any name that appears in the summary. People who can appear in his notes, especially those that appear when citing theory and methods, even if he does not agree with the other party's opinions, he will not deny its uniqueness.

However, the old dean always felt that there was room for improvement in the adaptation of "Home".

In the second act of "Thunderstorm", the young old dean once wrote a monologue for Fanyi: It's so hot and stuffy, and I can't live here anymore. I hope I will become the mouth of a volcano today, and it will explode once in a warm time. I burn everything clean. At that time, I fell into the glacier again, frozen to death, and burned it hotly once in my life, which is enough. What I have passed is over, I hope it's probably dead, hum! I'm ready for everything, come, those who hate me, come, call me disappointed, call me jealous, come, I'm waiting for you.

But when "Thunderstorm" was officially rehearsed, the old dean changed this passage to: It was so hot and boring, and there was no way to live such a life.

The changes don't seem to be big, but they are in line with human instinct to a certain extent. When a person is really in great sorrow, he must not think about how to tell others about his sorrow, but trying every means to calm himself and free himself.

He did not comment on the old dean's evaluation of the adaptation of "Home", even if it would be controversial in the future.

Along the way, he has achieved today's achievements in his business level. One of the reasons is that in his philosophy, only practice is to verify right or wrong, rather than whether he decides authoritatively.

Indeed, it is quite outrageous to most people to evaluate the creation of the old dean in some scripts as a second-rate screenwriter, but if people all over the world hold similar ideas, the history of human development will most likely become a history of ignorance, because "authority is right in the field he is good at" violates the negation law of one of the three major laws of dialectics.

"Tu tuk tuk."

"Xu Rong, are you inside?"

Xu Rong was about to lift his pen and continue writing when Yang Mi's voice came from outside the door.

He neither spoke nor said anything, nor said anything, he did not forget that just ten minutes ago, he criticized them fiercely but arrogantly.

"Click."

The door opened. After pausing for about two seconds, a head with a braided nose bridge came in.

Yang Mi saw Xu Rong sitting behind the table, frowning and contemplative, her eyes widened a little, but she did not say anything, but turned around and said something to the person behind her in a very low voice.

After a while, she brought a glass of water, pushed open the door, walked to the table gently, held the water cup with both hands, and stopped above the table.

Xu Rong raised her head in surprise, as if she had just realized her arrival, and asked in surprise: "When did you come in?"

Yang Mi looked at the doubt in his eyes, smiled and slapped the water cup heavily on the table, and said, "Here, the water you poured for me."

Xu Rong first glanced at the water cup, then looked at Yang Mi's departure back, and finally, her eyes fell on the sentence she had just written on her notebook: The character itself is separated from the character's due destiny.

If this cup of water was brought by Xiao Zhang, Xu Xing or Song Yi, he would not be surprised, but it should not be Yang Mi.

Because this is not Yang Mi, it is like an ordinary white-collar worker sitting in a villa worrying about the rent for next month.

He picked up the water cup and was about to take a sip, but before he could tell the truth, he stopped moving again, and he suddenly remembered the final banquet last night.

This is right at home, but less than twelve hours ago, he almost completely ruined his career because he drank the water in his cup.

What prompted him to stop drinking water was a coin that was originally pressed under the water cup.

He frowned and looked at the five-cent coin in confusion. He remembered that there was no such thing on the table before.

He could be sure that this coin should have been put by Yang Mi just now.

The question is, what did she do for a 500-cent coin?

Outside the door, Yang Mi, who had closed the door, suddenly felt a sense of ease she had never felt before.

Because I want to be a bridesmaid for Zhang Xiaofei, Xu Rong has been involved in the topics in the group almost every day.

In the past, although she didn't communicate much with Xu Rong, she always felt that she could understand him the best. No one except herself could understand how much pressure he was under and how tired he was in life.

As she has recently gained understanding of Xu Rong, she gradually realized that everything is what she thought. Xu Rong usually has many ways of leisure. In addition to dealing with various bar and dinner parties, horse riding, skiing, swimming, shooting, etc. are all his usual ways of entertainment.

She gradually realized that she was not indispensable in his life. Without herself, he was still very happy.

This coin is one of the few involvements between the two in the past, and from now on, it will be just a pure classmate relationship.

A scene slowly emerged in Xu Rong's mind in the room. In the classroom, Yang Mi played a beggar, and she stood in front of her, slowly opened her wallet, took out the smallest coin from it, and handed it to her.

He picked up the coin and threw it into the drawer. As an actor who kept himself active, he was somewhat aware of Yang Mi's emotions.

But what does this have to do with him?!

Putting the water cup aside, he picked up the pen and continued to write:

A top screenwriter, director, actor combination, or a certain popular drama, should be like this. When portraying the character's personality, the screenwriter should not simply and directly describe a character "smart" or "wise" or praise him for his intelligence and wisdom through others. Instead, he should give the character a sufficiently "action" situation so that the character can do something "must be this" according to his personality logic in that situation. This is a necessary condition for an excellent screenwriter and an excellent script. Just like in "Drug War", when the explosion occurred, Cai Tianming abandoned his wife and two brother-in-law without hesitation and escaped alone.

This action does not require anyone to explain Cai Tianming's personality, but every audience will have the most intuitive judgment of what kind of person he is.

However, in the actual creation process, it is impossible for most screenwriters to do this by their own level. Forced behavior will only lead to long and procrastination of the plot, but it is not without it. For example, "Kong Yiji gives up a lot of money", the action in this prescribed situation does not require the director to reprocess it, and it is enough to copy it, because the character's personality is already prominent enough in the action.

It is precisely because most screenwriters are not excellent enough and have flaws in the script, that the importance of directors in the film and television industry today is highlighted. Some excellent directors (including all the staff members of the crew) can always present the screenwriter's words only through the camera, not the mouth of the actors. Among the directors I have worked with in this regard, Uncle Li is relatively top-notch.

This is also the reason why many excellent screenwriters find it difficult to become top directors, but excellent directors are often top screenwriters.

The second is the actor. Theoretically, the director directs the actor's creation based on his own understanding of the script. Assuming that the screenwriter and director's level are high enough, the actor only needs to act according to the director's requirements, because the actions given by the screenwriter make every character "live", and the director has already done the light and shadow and lens scheduling.

But in fact, this is just an ideal state, just like the economic man hypothesis proposed by Adam Smith, so experiencing life or going deep into life has become a compulsory course for actors, because all screenwriters and directors have one-sided understanding of the characters, or even just subjective speculations. An actor who has a sufficient understanding of the real life state of a specific character can, and has the obligation to guide the screenwriter and director's creation.

After writing this paragraph, Xu Rong grinned. In traditional performance textbooks, actors are always advised to communicate with the director during the filming process. If both parties have differences in their creative injuries, it is often recommended to implement it according to the director's requirements.

But today, he provides a new method that is different from the previous textbook suggestions, but often happens in actual creation.

I believe Jiang Wen will definitely thank him after seeing this, after all, he provided theoretical support for his guidance on other directors' creative ideas.

After writing, he closed the notebook and pulled out a half old notebook from the drawer. Half of them recorded were rehearsals of "Home" and a summary of the performance.

After turning a new page, he slowly wrote:

1. Cai Tianming, "Drug War", discussing me and "I" in experience

In Shrine's experience theory, actors are required to eliminate my existence when creating characters and only retain "me" can achieve the most perfect performance state, and to truly listen, watch, and feel from the perspective of the characters.

We do not deny the feasibility of this state, but just like the various methods in the performance industry today, it is too difficult to judge whether a character is qualified by this standard. Among the ten thousand characters, perhaps only one or two are qualified.

Secondly, from another perspective, how did “I” come from?

There is a classic saying that there are a thousand Hamlets in the eyes of a thousand audiences.

When actors read scripts, similar phenomena exist. Even if the same character is used, different actors have different perceptions of the characters.

In other words, "I" is my understanding discovered from the script based on my literary literacy, growth experience, life aspirations, etc., so "I" naturally bears my imprint. To extreme, a stone, a wooden stake or a monkey cannot play a fixed character because they do not have literary literacy, value judgment, and then recognize the prescribed situation and take action.

Therefore, it is not valid to use the word "elimination" to describe the relationship between me and "I".

Based on my own performance experience, I currently have the following two inferences:

First, as Teacher Su Min said, in the performance style of the experiential school, I am the distracting thought of "me".

When I was performing "Home", I felt very tired at that time and couldn't get into the whole show. I tried hard to make up for this mistake, but in the end I received a very high evaluation.

According to "distracting thoughts", I made a mistake on the stage and the perfection I wanted no longer exists, but when perfection is broken, it is perfect again?

This seems to be a paradox.

In fact, this is not the case. After realizing that I was in a bad state, I tried to drag the show back on the right track throughout the show, which led to a completely different state on the stage than usual rehearsals, and I had a strong subjective initiative. In this process, I put aside all distractions, including the desire for perfection, the desire for applause, and the desire for perfect expression.

In other words, in this process, I completed the relaxation of my inner self, accidentally achieved a complete experience, and became a completely character.

This explanation is most in line with the theoretical system of the experiential school, but at the same time, it is also unreplicable.

So is there another possibility?

I think it exists.

second

After Xu Rong wrote "second", he temporarily stopped writing because he knew very well that once the original definition of "experience" was overturned, the training method of "experience" must be changed accordingly.

That would be a completely unknown road.
Chapter completed!