Chapter 451 Scholars

Author: I'm Red

Chapter 451 Scholars

When faced with Xu Rong's doubts, everyone did not dare to answer casually for a while. Even the elderly who had certain attainments in traditional culture could not help but think about the deep meaning of the requirement of "harmony posture".

Xu Rong initially did not want to use the concept of "harmony" that cannot be strictly defined for description.

Regarding the vocal posture, his initial idea was to learn from the "standard" posture in vocal teaching, that is, to keep the upper body standing naturally, look ahead, slightly retract your lower abdomen, and your arms sag naturally.

The advantage of this vocal posture is that it can maintain air and sound smoothly, and the relaxation of the body will also drive psychological relaxation, allowing the actor to maintain a relatively positive state and make a relaxed and beautiful voice.

Inspired by the key points of "integration of internal and external" in Bajiquan, he changed this idea. Baji maximized the efficiency of power through "integration of internal and external", and sound is also a form of presentation of power. Therefore, for the vocal posture, his philosophy is to be consistent with the emotions to be expressed in the lines. Only in this way can the high consistency of breath, psychological actions, and physical actions be achieved, so that the power of lines can reach the extreme.

If you read a monologue of begging in a standard posture, it will naturally serve as the purpose of practicing breath, but the depth of the "begging" can be expressed by bent down, lowering your head or even kneeling on the ground. The body and psychology also have different feelings about "begging".

In his philosophy, as an actor, the most important homework should not be limited to the practice of basic skills, but also have to use his heart and body to feel various emotions.

Because of the diversity of emotions, the voice posture is relatively complex, most of which are seen in daily life, while some are not common, such as "like grievances and admiration" or "like crying and complaining", which requires more complex psychological actions and physiological actions. For the time being, Xu Rong can only use the concept of "harmony", and in his imagination, this is easy to understand.

In actual teaching, he will learn from the "programmed" teaching model of Peking Opera to provide a "standard template" of shape, and students will adapt to this template based on their own material conditions.

Lan Tianye pondered for a while and asked softly: "Do you think that the body and emotions should be in line with each other?"

Xu Rong glanced at the old man with appreciation. The old man guessed his ideas by just one sentence, which was really not easy.

He didn't keep it a secret, explaining: "It's probably this direction, or to be more precise, a dynamic balance range. Let me give you an example. We often divide people into illness and health. But in fact, most people are neither sick nor healthy, but they should still eat and drink. I think 'harmony' contains the standard of balance, but not limited to this. When it is slightly unbalanced and does not cause qualitative change, it should also be included. In terms of voice posture, it is difficult for us to find a perfect voice posture that absolutely fits the lines. We can only try as much as possible, get close, and finally reach infinitely even the same content of the air sound, psychological action, physiological action and the lines."

Zheng Rong keenly noticed the core point and asked: "What do you mean is that experience is impossible?"

Xu Rong looked at the twenty people in the corridor and smiled and said, "Old man, do you want me to take you all over?"

He glanced at Pu Cunxi, who was holding the notebook, his face began to be wrong, and said, "Puyuan, stop reading it. I will publish it in the journal after I finish it."

"Puyuan?"

"ah?"

Pu Cunxi suddenly came back to his senses, and his eyes were still a little dazed when he looked at Xu Rong. He thought Xu Rong had achieved localization based on the Siqi system, but he did not expect that Xu Rong completely abandoned the Siqi system and started a new job.

Xu Rong did not argue his basic theories and corresponding internal skills in his notes, but his existence itself has proved that his theories and methods are feasible.

The basic theories and specific techniques of each system are always in line with each other. The Sirian system believes that actors "think and think" with their characters on the stage, so they have the method of experiencing life.

Xu Rong believes that the actor balances himself and his role on the stage, so he pays more attention to the compatibility of internal and external technologies, physiological actions and psychological actions.

The corridor was in a strange tranquility. Xu Rong did not explain it anymore. Everyone is an actor. Most people should have experienced this state. At a certain period or moment, they can reach the state of "thinking, hoping, seeking and acting in a completely correct, logically, and sequential manner, like a living person." But because of the experience, they can feel more deeply that this state is fragile and difficult to sustain.

The performance of actors based on the Sri Lanka system on stage originates from a firm belief, a firm belief that "I am a character, my reaction is the character's reaction", but in essence, Xu Rong never produces the inexplicable belief that "I am Xu Rong, my reaction is Xu Rong's reaction" in daily life, and the existence of this belief in the performance itself is a denial of experience.

The theoretical explanation for this phenomenon is that the actor's internal skills are still not perfect enough.

Everyone looked at Xu Rong with a strange expression. From the silence of Xu Rong and several old seniors, they all vaguely guessed something. Once the actors based on the Sirian system have doubts about the Sirian system, they will basically be abolished.

Xu Rong did not have the intention to prove the correctness of his theory. These people in the corridor are the essence of the People's Art Theater. If they talked about it, they would definitely refute it, but will they think if they lie in bed at night? Believe it or not, they will show their strength as soon as they go on stage tomorrow.

Once doubts about the Sri Lanka system arise, doubts are inevitable about whether what you think is the character's thinking, whether what you act is the character's actions. Once doubts arise, they will inevitably lead to fear in the performance.

Besides, he himself did not deny the Sri Lankan system. In his cognition, the relationship between the Sri Lankan system and his system was probably equivalent to communism and socialism. He did not deny the possibility of communism, but he was pursuing socialism himself.

However, everyone has a different understanding of the Sri Lanka system. He is not sure whether his one-sided argument will lead to the collapse of a certain person's confidence in performing.

Today's performance theory community has a variety of understandings of the Sirian system. For example, Sirian has a classic statement, namely "starting from the self, living in the situation of the character." Although the same sentence, the understanding and interpretation methods of later generations are very different.

Xu Rong once heard a teacher from the Central Academy of Drama’s discussion on this passage, and the general content is as follows:

The Experiential School is the most misunderstood performance school in China. The popular understanding of the Experiential School on the market is basically wrong. There are very complicated historical reasons here. I won’t go into details, so I will tell you the most common and worst misunderstanding of this - not admitting that performance should always "start from oneself".

Please note that only the "self" can complete the real experience, that is, "really listen, really see, really feel". If you are imitating a imagined image, or putting yourself into a performance that is different from the normal state of your life, it is impossible to complete the real experience. Therefore, it must be emphasized that "starting from the self" is the basis of the entire process of shaping the character of the experiential performance, not one of the stages, that is, the experiential school requires the actor to "always start from the self" during the entire performance.

This is the interpretation of the St. System by professors from China's top drama academy.

Xu Rong did not agree. In his opinion, the focus of the "starting from the self" of the Siren system is not on "self", but on "starting". But what is the impact of this sentence? After the actors saw this sentence, the result is often "to be on the self". All the characters are the same as him, not only their image but also their thoughts.

In his understanding, Sir's purpose of "starting from the self" is to allow the actor to first express the characters like individual, understandable, and conceived people, rather than to become the embodiment of a certain concept.

"Ego" is just a starting point. From here, you have to do a lot of work, gradually moving from "people" to "characters". Therefore, actors in the industry who can't even speak lines have an evaluation of "not speaking human words".

"I will sort out the basic theory and lines skills in the past few days, and return it to the journal." He said, glanced at Song Yi, and was about to arrange for him to go to his house to help tomorrow, but he saw Li Guangfu squeezed out of the crowd.

Li Guangfu grabbed Xu Rong's arm: "Teacher Xu, I will be your assistant, I will be your assistant."

Lei Jia's reaction was slower, but after being pushed by Yang Lixin, he also reacted: "Brother Xu, I, I, I can do it too,"

Xu Rong was stunned for a moment and said with a smile: "Teacher Li, you are joking, and Lei Jia, you all have a show to arrange, so let Song Yi and Xiao Zhang come."

Although Xiao Zhang was slow to react, he was not stupid. This scene was obviously something quite impressive recorded in Teacher Xu’s notes.

In the history of drama and performance theory, some people have not made particularly outstanding contributions to the development of drama and performance theory to those who will be remembered by future generations. However, because they are highly bound to certain important figures, their names often appear, such as "Stanilavsky's most loyal student and close assistant, Jamidorf."

She not only wants to be an ordinary classmate Xiao Zhang, but also a classmate Xiao Zhang who has been famous in history!

Feeling a little hungry, Xu Rong looked down at his watch and said, "I'll go eat something first."

"I'll bring it to you, I'll ask the canteen master to warm you up."

A week later, the day after the release of the People's Art Theater's special issue.

"Dean, Dean, big news, big news." Hao Xi hurriedly rushed to Xu Xiang's office with a magazine covered by Xu Rong's photo. When he entered the door, he saw that Xu Xiang did not look up from beginning to end, but stared at the computer screen seriously, as if he had no idea of ​​his arrival.

Hao Xi's excitement and his half-saying words came to an abrupt end.

He swallowed quietly, took two steps back gently, reached out and knocked on the open office door: "Dean?"

Xu Xiang suddenly raised his head and saw Hao Shi standing at the door. His eyes passed through the brown box and said, "Oh, Xiao Hao is here, sit down and say, sit down and say."

Hao Xi smiled reservedly and whispered: "Sorry, Dean, I was so excited just now, I will definitely correct it in the future."

Xu Xiang took off his glasses and smiled more kindly: "You are just too disgusting. Although you are a little older than Xu Rong, you really have to learn more from him and learn to manage your leader."

Hao Xi looked at Xu Xiang's smiling face and felt extremely disgusting. But at this moment, he had to bear the disgust and laugh with him, pretending that he was willing to listen and was extremely educated.

After a long and long discussion, Xu Xiang seemed to remember something and asked, "Is there anything you have to do?"

Hao Shi handed over the latest issue of the People's Art Theater and said: "The People's Art Theater has released a special issue, Director Xu's special issue. He elaborated on a new performance theory and corresponding vocalization method that is extremely suitable for Chinese characters."

Last time Zhai Tianlin plagiarized Xu Rong's paper, Beijing Film Academy lost face, and Hao Cheng made a bad news. Beijing Film Academy did not realize that the paper was written by Xu Rong, but as the deputy director of the Performance Department of the Central Academy of Drama, he did not realize that it was true.

After all, Xu Rong is his immediate boss.

It is also since then that he always bought the journal of the People's Art Theater. Today, he saw the content of the journal. After verifying it, he couldn't recover for a long time.

Although Xu Rong is a leader, he always felt that the status of the two was equal, but after seeing Xu Rong's latest research results, he did not dare to think so.

Even as a fellow traveler, he couldn't feel any jealousy, because the more he was with him, the more he could understand the extraordinaryness of this special issue. Even with this set of unfinished theories, Xu Rong could still deserve the title of "Drama Master".

"Oh, the new theory?" Xu Xiang said with no concern, "What's wrong? Don't he publish papers often?"

Hao Shin explained: "Dean, this is not an ordinary theory. I have verified it. After Director Xu improves it, this will be a new performance system that makes his status comparable to that of masters like Stanilawsky and Mei Lanfang."

Xu Xiang's eyes widened slightly, and then he had no expression like a sculpture for a long time.

Seven days ago, under Zhang Heping's coercion and temptation, he published a letter of introduction.

There are three exchange conditions in total. One is that the People's Art Theater will give the quota of the Plum Blossom Award to the Central Academy of Drama, the second is that the People's Art Theater will train 10 teachers for the school every year, and the third is that the performance tickets of the People's Art Theater will be 20% discounted to the teachers and students of the Central Academy of Drama within three years.

The first two are the resources he can allocate. He has the final say for whom he gives. The third is to make profits for the school. After all, Xu Rong is rare to get many talents. If he gives them to the People's Art Theater for nothing, I'm afraid no one believes that he won't get any benefits.

"Dean?"

"Dean?"

Xu Xiang didn't know how to explain to Hao Shi at this time, but more importantly, he seemed to have made a decision that everyone thought was quite stupid.

"Ding bei bei bei."

"Ding bei bei bei."

At this moment, a rapid phone call sounded. Xu Xiang suddenly woke up, glanced at him, and quickly picked up the landline phone next to him: "Hey, leader."

"Yes, yes, I read it, it was written by him." Xu Xiang replied while gently rubbing the sweat on his forehead with his arm. The more he praised the leader on the phone, the less he didn't know how to explain.

He finally understood that Zhang Heping had exhausted so much blood in order to transfer Xu Rong back.

He is from a stage beauty and doesn't know much about acting, but from the level of his leadership's attention, he has realized that he may have personally sent away a world-class top scholar at a bargain price.

(End of this chapter)
Chapter completed!