Lecture 1: How to use breath

Learning European and American singing requires solid basic skills. One of the most important aspects of basic skills is breath. The fulcrum of breath must first be established in the lower back. Then find the strength in your lower abdomen. Because the waist requires you to actively expand or pull downwards to generate a force. However, due to the downward pull of the waist fulcrum, the lower abdomen and diaphragm will naturally create a confrontation. If you only place the fulcrum in the front, that is, in the lower abdomen, it will be difficult for the waist to control the breath. Just imagine, is it more effective to control the breath by relying on the strength of the front, back, waist and abdomen? Or is it more effective to rely only on the local strength of the lower abdomen? I hope everyone can understand the active and passive relationship between them.

Nowadays, there are many categories of popular teaching. If you cannot master a correct breathing method, you will lay the wrong breath foundation. Your voice will lose the brilliant color it should have, and naturally it will be more difficult to achieve the strong control over the voice that European and American singers have, without changes in timbre, including intensity.

It needs to be said again that the breath should be controlled by the waist and abdomen to obtain the maximum sound with the minimum force. It is definitely not what many misconceptions say, the greater the pressure of the breath, the better. To be precise, the flowing breath in the true sense is a skill, not just power at all.

Lecture 2: Vocal Training State

Breathing is the driving force of any singing method, and the correct breathing method determines whether the sound is right or wrong. For the training of popular singers' breath, I generally use etudes with strong singing qualities in my teaching to practice my voice.

Organize a few simple vowels into a little song so that students can practice their voices while singing, or choose a piece with a smooth melody, and then choose a piece with a lighter and faster melody. Let students try to sing, find out representative phrases, let students feel its singing ability, and use this feeling to practice their voices. This makes it easy for students to stay fully engaged and in a singing state. In other words, don't think of vocal practice as a mechanical exercise. Otherwise, it will cause an illusion of sound concept and status in future singing. Only by practicing with a happy mood and a touching emotion can you effectively find a relaxing and natural tone.

Lecture 3: The relationship between standing posture and singing

Good standing posture is very important when singing popular songs. Don’t make the mistake of thinking that only bel canto and ethnic singing styles pay attention to posture. In terms of human physiological functions and vocal state, all singing methods are the same.

For some singers, the back of the neck cannot be kept in a vertical plane with the waist, and the vocal channel will be compressed and blocked. For example, speaking with a hunched back will squeeze the chest and prevent the breath from flowing smoothly through the body. Tilting the chin will cause the neck to relax and the pharyngeal wall muscles to weaken, making it difficult to sing high notes. At the same time, it hinders the emission of sound in the vocal cavity, and bulging the lower abdomen will cause the breath to stop and press down, which will destroy the support of the breath.

The correct standing posture should be with the center of gravity on the front half of the foot. Only think about the upper chest, regardless of the state of the abdomen, and of course, don't be stiff. The fulcrum of inhalation must be established at the waist, and then you can experience the effect of the final counter-pull. Because the waist requires you to actively expand or pull downwards to generate a force. However, the lower abdomen and diaphragm will naturally create a resistance due to the downward pull of the waist fulcrum. If only the fulcrum is placed in front. That is, the lower abdomen. At that time, it will be difficult for the waist to control the breath. Just imagine, it is more effective to control the breath by relying on the strength of the front, back, waist and abdomen. Or is it more effective to rely only on the local strength of the lower abdomen? There is an active and passive relationship between them.

Lecture 4: Practice Method for Weak Voices

Some new students will blindly pursue volume when singing. In fact, what sounds loud to students is not necessarily correct. If the sound is scattered inside the mouth, the position will be relatively low and there will be a lack of tinnitus. At this time, when the sound passes through the microphone, it will produce a sharp and unclear tone. Especially when recording in the studio, singers may find it difficult to control their own voices. So, how can students use scientific vocal methods to establish a smooth and orderly singing state?

First of all, I think it is easier to find a sense of relaxation by practicing in a weak voice. Any kind of singing method can only produce beauty if it is relaxed. When doing this exercise, it is best to hum with your mouth open. It means that you open your mouth and don't pronounce, and use your nose to pronounce. Students who have not received training will have tight teeth and need to practice opening their mouths every day.

Press your chin with your hand and practice stretching it upward. Do not use too much force to injure the oral joints. The oral cavity should not be too horizontal or too long. It is best to expose the upper teeth and slightly expose the lower teeth. This oral state is correct from a phonetic perspective. One thing to note is that opening from the outside first is the first step. The key is to realize that opening from the inside to the outside is the most important. Don't create a speaker state where the outside is big and the inside is small, otherwise it will be difficult to get smooth sound.

During this exercise, you also need to use another way of thinking to consider the position of listening to the sound. The position of the sound is constantly changing with the pitch. Move from front to back. The speed of movement is judged by the teacher's ear. When moving to the treble range, the soft palate should be lifted moderately, because the lifting of the soft palate is the only channel that can produce high notes. From the perspective of voice structure, it is impossible to produce a high pitch from behind the teeth. Only when the soft palate is lifted, pulling the posterior pharyngeal wall and forming an arch state in the back of the mouth, can there be a rhinocerosacal hum. Only the high notes are relaxed. At the same time, it produces vibration. Of course, the direction of the sound cannot be upward, otherwise it will feel like bel canto.

Popular singing and bel canto folk singing have an inseparable but completely different relationship. The important thing is how teachers can learn from the advantages of European and American singing methods and combine them with the characteristics of national singing methods to train, which can solve the problem of students' voices not having high pitch in the short term.

A good popular singing teacher should solve all the voice problems of the students within one year, and should not be unable to let your students sing three to four eights after five or six years. Spend.

Some students will ask: "Will practicing pianissimo make the sound softer?" "Can't it be played in the future?" In fact, no! It's hard to find relaxation by shouting in a loud voice. On the contrary, it is easy to find with a small voice. That is to say, popular singing requires establishing its own vocal channel. It should be based on complete relaxation, and then the sound can be released more effectively. Therefore, weak tone practice is only a means, and obtaining a smooth and magnetic sound is the goal.

Lecture 5: How to grasp the directionality of sound

How to grasp the directionality of sound is very important when singing popular songs.

Because during the singing process, it needs to constantly move its position, including whether the mouth is open in place, and every note needs to be carefully experienced. During the movement, especially when moving backward, It is easy to focus on the upward direction of the sound, but not on the forward direction. Whether you are singing bass or treble, your mind should be very clear, and the direction of the sound should always be forward. The nasal cavity is open and kept unobstructed at all times. When singing popular songs, be careful not to bite the words in the back half of your mouth. The sound will easily fall backwards and sound like a bel canto. You will not be able to hear clearly what you are singing and the sound will not come out easily. The fluidity of the sound is connected with the rolling of each other, and the emotions continue to progress, entering the climax of the song. We must keep the same thought, that is, my voice is directed forward.

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Struggle Published: 2004/09/05 10:42pm

Lecture 6 The role of pharyngeal strength in singing

< p>In the process of accent practice, pay close attention to the position of the sound movement. If the moving position is large, the sound will be weak; if the moving distance is small, the sound will be crowded. When doing this exercise, be sure to sing at a fixed point. For sounds in the middle, the onset should also be in the middle, so that the accuracy of the sound can be grasped.

After mastering the accuracy of the sound, you can then experience the power of lifting the soft palate to drive the pharyngeal wall when singing high notes, forming a strong pulling force, making the high notes penetrating and creating a shocking feeling.

However, moderate use of pharyngeal sounds is the key. If you sing with all the pharyngeal walls tightened, the sound will be too hard and too bright, lacking singing ability. Without the strength of the pharyngeal sound, the sound will be hollow, without the feeling of fulcrum and tension.

I personally think that throat sounds are an essential part of singing. But if you stretch and brighten too much, the effect is not ideal. That would lack the charm of my real voice. The flexibility is not enough, the dexterity is not outstanding, and the expressiveness in different ways unique to popular songs is lacking. If it can be adapted to the different intensity needs of the song. Appropriate use of the strength of the pharyngeal wall will play an icing on the cake during the performance.

Lecture 7: Text and Visual Expression

A good singer must have the most sensitive sense of words. When singing that sentence or word, he has the complete The ability to penetrate deeply into the inner meaning of words and sentences. When a singer sings, he must be singing himself, not someone else.

For example, in the song "Qinghai-Tibet Plateau", in the introduction In part of the singing, you must first find the open and unrestrained feeling of the forest valley. Then "Who brought the ancient call"? It appears in the form of a question, so the main difference in singing should be between "call" and "hope" "Up." Could it be said that "the tone should be strengthened, and the feeling of blending into the breath is better." The wordless song "should have the feeling of pulling up. "It's still the attachment that can't be forgotten for a long time." In this sentence, "for a long time." ""Forgetfulness" and "Nostalgia" are to highlight the connotation of expression. In the part of "I saw mountains", in the heart, the overlapping and alternating feelings of mountains and rivers should be shown in front of the eyes, the singer's own feelings, I am in Tibet now. In the heart, You have infinite beautiful feelings for the Tibetan people and deep admiration for the People's Liberation Army. You can't suppress the immersive feeling. Only then can you sing your deep feelings for the Qinghai-Tibet Plateau and your praise for the glaciers and green trees. , the nostalgia for one’s hometown, and the pride of praising the Qinghai-Tibet people.

Lecture 8: Changes in emotional plot structure in singing

The language of singing is the voice of the heart. When a person The moment a singer stands on the stage, the only thing connected with the audience is your sincerity and true feelings. If a singer can treat the audience as his own relatives and tell your joy, joy, sadness and anger. First of all, your mentality will not be tense. Plus you'll be authentic about what you're saying.

In addition, singers must also learn to remember feelings. Store your personal feelings of joy, anger, sadness, and joy in daily life in your brain. Once needed, immediately mobilize them and use them in the plot of your singing.

How does "Blue Sky" performed by Zhang Huimei perform?

"Wake up and fall asleep again. I struggled all night long. A few rays of light came through the window."

When you sing this sentence, it makes people feel that you have been up all night. The heartache is unbearable, and the sound and emotion are gradually intensified to reflect the feeling of light from dark to bright.

"With your photos in an empty room, the feeling of happiness is boring"

It expresses the feeling that the building is empty after people leave, and happiness is no longer around.

"I have no intention of singing but I cut off the melody, leaving everything to tomorrow"

Musically, this is a repetitive passage. In terms of the processing of repeated passages, both in terms of speed and tone, it should be faster than the previous section, giving people a sense of musical progression.

"Emotions are fickle, and no matter how hard you try to cover it up, who can say sorry sincerely?"

This sentence expresses emotional frustration and injustice. The purpose is to connect with the climax of the next section of music. Therefore, it is necessary to sing like a climax.

"I am trapped in love, and my face is getting tired, as if I can't leave or enter your world."

This expression reaches the pinnacle of emotional catharsis, making The feelings that I can't hold back finally come to an end.

"After passing through many heart walls, there is a whole blue sky"

It means that you have finally overcome your fragility and welcome tomorrow's blue sky with a cheerful mood

< p>Lecture 9: How to Grasp the Rhythm to Sing

Each song has its own unique rhythm and rhythm to sing a form of expression.

How to grasp the characteristics of the song is the key to singing the song well. For example: Zhang Huimei's "Can I Hug You?" is composed of a small rhythm and a syncopated feel. The speed appears again in the form of pushing forward slightly faster. But the idea of ??words and rhythm are completely different concepts. The meaning of the lyrics is to express a woman's psychology by breaking up with her lover, feeling helpless, sad, and nostalgic. Then when expressing the connotation of this song. One kind of thinking is singing, firmly grasping the rhythm after the bar, and the other thinking is thinking about the meaning of the words, "It's raining outside, just like my blood is dripping. Loving you for so long is actually not easy. It's so necessary. The singer manages to sing your inner sadness, reluctance, and even the pain of breakup with a slightly brisk and non-rigid rhythm, hoping to retain love. If you can't use two different methods. Singing without thinking will inevitably lead to inaccurate or delayed rhythm, or the inability to be immersed in the content of the lyrics during singing.

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Struggle published at: 2004/09/05 10:43pm

[This post was last posted by Struggle at 2004/09/05 10:44pm 1st edit]

Lecture 10: What is a second creation?

When the lyrics and composer write a work, it is called the first creation. Then the second creation must be completed by the singer himself. The same song, sung by different people, has completely different effects. Some works are very simple in terms of musical form and have an uncomplicated structure, but after a good singer handles them carefully and appropriately, what is sung will be very touching. This is what people often call secondary creation.

For the second creation, the singer must first sing accurately on the score, sing all the dots, front and back sixteenth notes, and syncopations accurately in time, and then sing continuously to master it. Generally, after you get a new work and sing it hundreds of times, your brain will have an accurate structure. At this time, look for the characteristics of the musical form and structure. Where is the rhythmic focus of 3/4 and 4/4? How to grasp it? Let’s do paragraph analysis again. Is it an A, B, or A type paragraph? It’s still an A, A, B style paragraph, you have to figure it out. Then focus on the words to find the desired emotional state. Analyze the differences in the expression of each paragraph and emotion in the text, be extremely detailed and accurate, and then process the song segmented and hierarchical from the overall work.

The Eleventh Lecture on Emotional Experience in the Art of Popular Singing

In a narrow sense, the singing method of popular songs belongs to the category of vocal art, and in the broad sense of its comprehensive singing In other words, it is more of a performing art. Therefore, after mastering the technique, the ability to successfully perform a song becomes an important part of singing skills.

Looking at the Chinese music scene around the world, there are many individuals who independently compose music, lyrics and perform, and there are also a few who collaborate with others to complete the music and interpret it themselves. However, the most accomplished singers are often those who are proficient in singing skills and expression methods, because these people devote themselves wholeheartedly to the art of singing, making their performances reach perfection from inner experience to physical expression, from voice modeling to emotional processing. degree.

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Struggle published on: 2004/09/05 10:45pm

(1) Writer’s experience and singing experience

Song creation is a first-time creation, while actor's creation is a second-time creation. Actors

When receiving a new song, the first task they face is to communicate with the writer about their emotional feelings and ideas about the work. An excellent work must be an expression of the author's true feelings. However, due to the differences in experience, experience and feelings about things between the author and the actor, there is still a gap. The actor must work hard to bridge this gap, feel what the author feels, and read what the author thinks. When an actor's feelings collide with those of a writer, artistic sparks will occur, and the actor's creation truly begins.

Jiang Yuheng, a young man whose ancestral home is Shandong, grew up in South Korea, and went to Taiwan to start a career alone. After experiencing the vicissitudes of life and the harshness of the world, he came to sing Li Ziheng's "Return" to express his feelings about wandering. His deep feelings are consistent with Li Ziheng’s original intention of creation and have reached a very high level. This is the reason why I can't sing "Only I Understand After I'm Thirty" well when I'm less than 30 years old. And that kind of far-fetched feeling of "forcibly expressing sorrow in order to compose new poems" will make a work with profound foundation become shallow.

Songs are the perfect combination of literature and music, and the rich content and broad themes of modern pop songs are unmatched by other music forms. The world. The seven emotions and six desires are almost all-encompassing, and everything is sung. Therefore, as a popular singer, you must work hard to increase your life experience and deeply cultivate your ability to sense and understand life.

(2) Life experience and artistic experience

Pop songs have evolved from early folk songs to modern profound inner feelings

Showing this evolution process , illustrates the progress of human culture and the maturity of music. "Bitter Fence" is a metaphor for the helpless country woman unable to break free from the oppression of feudal culture. "This I" (sung by Li Xujun) is a metaphor for the loneliness behind the hustle and bustle of the city. Neither is a culturally simple and sensitive way. Poor people can understand it.

However, this does not require that one must have the same experience as the composer in order to sing a song well. Not to mention that when you sing about wandering, you have to go wandering; when you sing about prison songs, you have to go to prison to experience it for yourself. The idea of ????doing everything yourself is stupid and childish, and it is not in line with the laws of artistic creation.

So, how to sense an emotional world that you have never experienced before? This requires actors to learn from and experience the moods and emotions depicted in the songs based on their own emotional memories.

It is difficult for the actor who sings "Firework Woman" to have the experience of the woman in the song, but she can experience this emotion through other people's narratives and her own sympathy and feelings for the tragic fate.

The true achievement of an actor lies not only in having an accurate feeling for the thoughts and emotions revealed by the writer in the work, but also in the uniqueness of the content of the work. The same song, performed by different actors, will produce different emotional colors and singing effects.

The same "Looking Back Again" is filled with Jiang Yuheng's vicissitudes; Zhang Xing's exhaustion; and Su Rui's maturity and determination that is difficult to let go and must be released. All have strong elements of personal feelings.

An actor’s feelings and experience of emotions must be sincere and sincere. Any false emotions will be seen through, but this does not mean that you must put your emotions into it and be unable to extricate yourself when singing. . You know, there are differences between the emotions an actor experiences and the emotions he expresses. The emotions during the experience are the true feelings of the actors. When we repeatedly sing "Mother in the Candlelight", we often shed tears, but we must stop the tears while singing. If the actor cannot control the song due to deep emotions, the consequences will be disastrous. If you are recording at this time, you can stop and start again; if you are performing on stage, you have to interrupt unless it is for an artistic process. For example, Teresa Teng sang "Goodbye, My Love" at her farewell concert in Hong Kong. When she sang "I don't know when we will meet", she choked and stopped singing. At this time, the audience burst into applause, creating a dramatic effect. But if this kind of emotional loss of control often occurs during singing, the audience will be turned off because they are not here to appreciate the tears. Actors often have this experience. When they first sing a song, they are often moved by the content of the song, and their true feelings overflow. But unfortunately, because the emotions are too real, the voice is out of tune and the movements appear rough. After repeated rehearsals, the actor's emotions have become in-depth and detailed, and his movements are methodical. The actor may choke and tremble because a certain lyric affects his emotions, but he will never lose control. Rather, it is to inspire the emotions of the listener or audience through in-depth expression. This is the meaning of singing.

The emotion during an actor's performance is a hypothetical and virtual emotion. Its origin and true feelings are subject to rational control. It is the actor who clearly retains his first self and uses his second self to feel it. A state; it is a state in which actors describe their feelings to the audience and the audience, and sometimes fall into their own feelings.

For example, when singing "Firework Woman", the actors started from themselves to feel the tragic experience of the Firework Woman, thus gaining an accurate life experience. However, when expressing her experience, I have to start from myself. Assume that I am a "fireworks woman" and describe her experience from this perspective. And just because I sing it, it must have my emotional expression characteristics. Acting is also the key to the formation of an actor's style.

(3) Freshness of emotional experience

The actor’s emotions should be experienced again during every singing process. This "freshness" or "first time feeling" is not only for the audience, but more importantly for the actors themselves. Because the actor's emotional expression and emotional experience are an inseparable whole, each re-experience will produce different psychological feelings and different emotional states. Since this is an artistic state, the emotions experienced each time will become more and more stable, more accurate, and more profound.

Therefore, actors should not only pay attention to diligent study and practice, but also pay attention to the quality of singing practice, that is, to further explore new things in the "fresh" and "first time" feeling of each experience.

The singing process itself is a process of experience, and it is also a process for actors to find their inner feelings. Emotions should become more concentrated as they sing, instead of becoming more scattered or indifferent as they sing.

(4) Emotional experience and personal singing style

Among many singers, due to the differences in each person’s emotional characteristics, some people are not suitable for them

It is common for a piece of music with a certain emotional color to be easy to feel, thus forming a group of music pieces that are similar to your own style. It is precisely for this reason that there has been a phenomenon of songwriters writing songs for specific actors, and there are also a group of singers who write and sing their own songs. All of this provides more favorable conditions for the establishment of actors' personalities and styles. Each star's representative works and singing style are basically related to their own emotional characteristics.

When a singer prefers a certain type of works based on his own intuition, it can probably be regarded as an emotional stimulation! This kind of excitement is the starting point for the formation of an actor's style. Of course, in addition to this, there is also the issue of whether the actor's timbre, voice quality, vocal range and other conditions are consistent with the emotional characteristics. If it is not suitable, it should be adjusted appropriately according to the situation.

If we carefully examine the impact of emotional traits on an actor's style, we will be more aware of its importance. If we compare the early works of some famous singers with his or her fame, we will find that they are completely different. The main reason is that after long-term exploration, the actors have found their own emotional sensitive areas and characteristics. Based on this characteristic, he performs songs, creates and improves his or her own works, and his or her style gradually forms.

It can be seen that emotion is an integral part of the actor's personality. Wang Jiesheng

Wang Jiesheng is a man of few words in life and is good at feeling loneliness, so his aloofness and coldness form a unique style; Yu Chengqing is good at feeling passion, and he has the style of "Let Me Love You Enough at Once" Warm and direct; while Jiang Yuheng felt the hardship and fatigue, timidity and guilt of the drifter in "Homecoming" in a blurry world. The surging passion will no longer surround him, allowing him to savor the feelings of a wanderer. It is such a sense of taste that formed his delicate personality and style; however, we appreciate Hong Kong singer Lam Zixiang's susceptible emotions and free and easy style. His gentle and mellow feelings will directly touch your heart, and his passionate The feeling of passion makes you unable to control yourself. Seen from this. There is a close relationship between the actor's emotional characteristics and the formation of his personality style.

(5) Emotional experience and vocal expression

When we use our own nature and our own direct or indirect experience to touch a song

When facing the emotional curve, the tremors of our souls will cause subtle changes in facial expressions, body expressions and voice expressions. Actors must be good at capturing these changes, and constantly feel them during rehearsals, and constantly improve them while feeling them.

If an actor only relies on inspiration and nature to feel, but is not good at capturing and accumulating the changes in voice expression, body expression and facial expression caused by this

feeling, then maybe in When recording and performing, this change has long since slipped away. Let us feel the song "In the Rain" together. The song goes:

In the rain, I sent you off

In the rain, I kissed you

In the spring, I own you

In winter, I leave you

There are reunions and separations

Life is a drama

There are laughter and crying

< p>I don’t know who can or who can escape

You say life is beautiful, I have no objection

You say life is melancholy, I have no words

Only silence To bear all this

To bear countless springs and winters

La... la...

Everyone's love experience and life experience are different. There will also be a difference in how the song feels. After suffering the blow of a failed relationship, an actor saw through the truth that life is a drama. He had also been depressed by this loss, but he was still confident to find his own feelings. Therefore, although his aftertaste of the past events in the rain was a bit bitter, it was tender.

And another actor, after suffering a blow, was full of sadness, he may never love again in his life. Therefore, his attachment to the past in the rain may be painful and sad.

Warmth and sadness are all based on personal experience and feelings, and this experience and feelings will undoubtedly change the voice expression.

One person feels

warmth during the exercise, while the other feels sadness during the exercise. In this way, the voice expression changes with different personal feelings.

The voice of a warm person is undoubtedly clear and soft, while the voice of a sad person will be hoarse and hazy. Therefore, the verbs "send", "kiss", "own", and "leave" are not sung casually. The former makes people intoxicated, while the latter makes people heartbroken and has different artistic appeal.

With the lyrics "There are gatherings and separations", the former will make you indulge in the situation of gathering and separation, and life is like a drama; while the latter will let out the air while sighing, expressing your concern for fate. obedience and helplessness towards love.

Vocal music is a practical art, and its feeling cannot be fully described in words.

As an aspiring person, you should try your best to understand the nature and characteristics of voice expressions and their subtle changes in emotional experience. This is not for your own appreciation needs, but to use vocal expressions to evoke the experience of the audience and listeners. Only such vocal expressions are valuable.

(6) Emotional experience and facial expressions

When you, as an actor, dedicate your singing voice to the audience, your emotional experience is given new content. The colorful spotlight shines on your face, making it impossible for you to avoid the audience's gaze. You must make the audience calm down, become interested in your singing, and accept your feelings. At this moment, the actor's facial and body expressions are very important.

If you are purely a radio and tape singer, then it is basically enough to impress the audience with the rich changes in your voice and expression. However, with the continuous popularization of television and the further development of various entertainment methods, especially "karaoke" and the continuous emergence of song and dance halls, actors must regard the art of singing as part of the performing arts. Without this awareness, many years of building The beautiful image and all the efforts made for it will fall short. Once upon a time, many idol singers in the eyes of fans could not withstand the test of stage and screen. They lost their idol status while singing face to face with the audience. This is a very painful lesson.

In fact, in the performing arts, voice expressions, facial expressions and movement expressions cannot be completely separated. It is just because the environments in the recording studio, on the stage and in front of the camera are different, the objects are different, and the methods are different. Just focus.

Facial expression is the brightest soul window from people’s inner world to the outside world. It is always the most direct, vivid and vivid expresser of inner feelings. People's joy, anger, worry, thought, sadness, fear, surprise and other delicate inner emotions, even if they consciously conceal them, will be revealed in expressive faces and movements, either brightly or darkly, or Thick or light shadow

So, what is expression? Expressions are the main tool for expressing invisible emotions, and they are the visual expression of emotions. Generally speaking, expressions in life are a natural expression of people's inner emotions and a means of communication in life. However, as expressions in performing arts, they have their own functions and effects. They are no longer just a natural expression of inner emotions. Expressions in life and expressions in art, subconscious expressions and conscious expressions are two concepts that are related but different from each other.

Artistic expressions come from life expressions, and any pretentious expression that is divorced from life will not be accepted by the audience. However, because expressions in life are natural expressions, the forms of expression vary widely, and some are even ugly and dazzling. Actors must choose the most typical, easiest for the audience to peek and accept, the most accurate expression of psychology and the most aesthetic state. This state is produced when the actor deeply understands the character's inner emotions and studies the characteristics of life expressions, and then refines and processes them.

Some people are born with dull expressions, some smile without showing their teeth, some people laugh with their gums

exposed, etc. Even if these people have strong inner feelings, their expressions There are either no traces, distorted inner feelings, or lack of beauty. This requires actors to fully understand their own faults and strengthen expression training so that they can freely control the movement of expression organs.

The eyes are the most important part of facial expressions and are the center for an actor to show his inner activities. There is a song that goes:

“Don’t weave beautiful sorrow anymore

Stop looking for far-fetched excuses

Because your eyes have already said it

This song accurately shows the importance of eyes, and nothing can hide it. Therefore, if an actor wants to. To let the audience feel your inner activities, it is necessary to accurately convey what you think, think, and feel to the audience. It is an important skill for actors to step onto the stage and onto the screen.

(7) Emotional experience and inner vision

The actor's inner vision is the means by which the actor conveys his emotions. The so-called inner vision means that the actor can express his emotions when singing. In your own vision and heart, you can see everything you sing very clearly, very detailedly, and very vividly. What’s more important is that you can let the audience see everything you sing through your vision.

For example: when you sing "Annie", the girl who is beautiful but will never accompany you will definitely appear in your vision, her voice and smile, gestures and tone of conversation, eyes, headdress, hairstyle, clothes, figure They are all clearly identifiable. Not only that, but the relationship between you must also be assumed. On a certain day of a certain year and a certain month, you finally fell in love. Annie is a mixed-race girl. You two were on the same day. You finally fell in love and graduated. After Anne returned to the United States, you also left your hometown for some reason, and there was no news from you. You thought Anne's love for you would never exist, so you burned the letters between you. A few years later, you received it from your friends. Learning that Annie died in a car accident and has been waiting for you makes you devastated and devastated... Although this is a true story that happened to Wang Jie, as an actor, he must outline himself in the songs he sings. Tell a true story

The actor’s inner view