There are two differences between dance theater actors and film actors: The first difference lies in the skills they must possess to adapt to the requirements of their respective artistic means. The second difference concerns the functions they each have to perform in stage plays and feature films. China Dance Network jI2w;x#^ A o

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Film actors occupy a unique position at the intersection of stage life and non-stage life There is a big difference between film actors and theater actors. This was already recognized in the early days of cinema when Ray Jeanne and Sarah Bernhardt performed stage plays in front of the camera, which ruthlessly demolished their stage. Dance Network-]`0R5x I ]B!D

)Lv9i+b8G u"\01. Dance drama performance characteristics China Dance Network fp BL}2v,q

y1|F @t/pEIRj0 "Dance drama is a concentrated art." Successful dance dramas come from life and are highly summarized, refined and condensed by artists. Chinese dance drama choreographers inherit the pursuit of meaning and construction of poetry in traditional Chinese art. The aesthetic tradition of the modernized realm. The life they reflect in the dance drama is no longer the prototype of life, and the national dances they display are no longer the original national dances. They are Chinese dance dramas that have been refined and artistically expressed. It pays attention to concise language, rich imagination, strong emotions and profound artistic conception, making it more fantasy than reality, more poetic summary than display of life, more expression of emotion than description of plot, and has a strong poetic flavor. {t,O oP:L

T P#{T:AD;N(?6x0The artistic concentration of Chinese dance drama is also reflected in the poeticization and sublimation of the characters' spiritual world and the characters' emotions. The high-taste A dance drama should be like a poem, which not only has a complete storyline and distinctive characters, but also exudes a strong lyrical color. Through psychological description, the drama and lyricism in the dance drama can be harmoniously unified, pursuing the perfection of poetry, dance and music. Perfect fusion. China Dance Network G!l E,k!Ja)z

1UNSyt C5ANWv0 Therefore, the core of dance drama art is to create vivid and vivid characters, and the dance drama director should focus on the emotional flow of the characters' personality characteristics. Based on this, we need to design a dance vocabulary that matches the actions of the characters; and dance drama actors need to perfectly combine dance skills (external skills) and performance skills (internal skills) to create a unique character image. The character image of dance is the main criterion for evaluating the success of a dance drama, and it is also the main criterion for testing the skill of a dance drama director. It is this point that distinguishes dance drama performances from film art performances. China Dance Network"hx] pD1CD2h

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1. The actor's temperament of "both form and spirit" China Dance Network 5W"K4n9n'L(b E< /p>

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Dance choreographers generally pay attention to three conditions when selecting actors, especially those who play major roles: temperament, image, and technique. .

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6A'TfH#W T0 Image refers to the actor's appearance, including body and appearance; technology refers to the professional skills acquired by the actor after rigorous training. Temperament is a condition of the actor's personality and psychological characteristics. It is not only restricted by the individual's biological organization, but also affected by the living environment and acquired education. China Dance Network"^7B2Af(jc{3Mpj

f4qG6S0tLs0The actor's temperament in dance drama performances refers to the kind that belongs only to the actor in artistic creation activities and is the same as his appearance conditions and professional skills. It is the personality and psychological characteristics of creative materials. In actual dance drama performances, it is not difficult to find that the more professionally trained and experienced actors are, the more obvious their personal temperament characteristics are in their performances.

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l"G9@ L8_"o8O0The temperament and image (including body image and facial image) of dance drama actors are the first among actors The main body material and skills belong to the second main body material after processing.

Therefore, temperament is a special material for artists. When we evaluate an actor's acting level, it actually includes his physical body and appearance; spiritual and artistic accomplishment, unique signs of temperament, technical skills, etc. factor. The image and skills of a dance drama actor are intuitive materials, while the temperament is a non-intuitive perceptible material. They constitute and interact with each other. Without one side, the other cannot be shown. In dance drama performances, there is no artistic temperament that does not appear through body movements, and there is no body movement without the imprint of personal temperament; the relationship between them is similar to what we usually call the relationship between "form" and "spirit" in fine works of art. , Without "form", it cannot show its "spirit", and without "spirit", its "form" will be scattered. The relationship between the temperament, image, and technical skills of a dance drama actor is the concrete embodiment of such a "spiritual and physical" relationship. China Dance Network 1b. >*a9y*{H8pwQ z0In the process of image creation, dance drama actors always clearly show their own artistic characteristics in every link. This is determined by the special expression means of dance as an art form. Although a dance drama actor has read the script in advance and listened to the director's explanation and music, it is still difficult to imagine the "dance lines" of his future role in advance. Therefore, the dance drama actor's first task should be to learn the movements and match them to the music. China Dance Networki8zzw/hx8[$?

'Lz^ cC!kMo6i1xc0Dance drama actors cannot ignore the special expression method of dance drama in revealing character. Only those who can truly master and be good at using it in the art of dance drama Only on the basis of specific dance expression methods can a complete character image be produced. Because: dance and mime in dance dramas are often blended together and difficult to distinguish. Especially plot dances that show dramatic contradictions often contain a certain element of mime; the artistic power of mime in dance drama art often depends on the use of gestures. Accuracy, distinctive modeling of expression content, musicality of movements and strong passion in character performance. Therefore, dance dramas that can profoundly portray characters rely on distinctive movement and dance modeling. Although there is not a single action in daily life in the dance drama, in order for ordinary audiences to understand the content, the actors need to have more substantial emotional and physical performance capabilities for the characters. Only when dance drama actors are good at combining profound psychological portrayal of characters with proficient mastery of dance drama performance methods can they create distinctive dance drama characters. China Dance Network]9R6c7vG:c-`ap

H9a6vi2|0rDL0 2. Features of Film Art Performance

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When comparing the performances of film actors and dance theater actors, we usually always talk about the exaggeration and exaggeration of the latter. In fact, the dancer does not paint a realistic portrait, which would have no effect on the stage. Instead, he relies solely on suggestion to convince the audience that they are dealing with his character. Under the influence of these hints, the audience seems to have seen something that does not actually exist. The situations he finds himself in, the way his body movements speak to his motives, fears and desires - these help the audience to supplement his performance, so that the persona he creates gains breadth and depth. He may act to the point where he comes alive. However, life itself - the confluence of various subtle ways of existence - cannot be expressed on the stage, and the performance of a film actor must rely on his nature to express the character he is supposed to reproduce.

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1. Characteristics of an actor whose true qualities come first China Dance Networknt:\ 3B's+zk Pk `yb5~e

^p(X;G#v s0If you consider the importance of a film actor remaining true to himself and his function as raw material, it is not difficult to understand why many film directors always Like to rely on non-professional actors to perform their stories, Epstein said: "No set, no costume can have a realistic look and tone.

No professional actor's pretense can produce the wonderful connoisseur's gestures of a sailor or a fisherman, a friendly smile or an angry cry as inimitable as a rainbow in the sky or the rough waves of the ocean. ”

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Non-professional actors sometimes seem to be the most popular thing in some countries’ movies. The Russians are among them They trained non-professional actors during the revolutionary years, and the Italians did the same after they got rid of fascist rule. /p>

Of course, when discussing the issue of using professional and non-professional actors, the latter proves to be satisfactory only in documentaries where "non-professional actors do what the best professional actors do." Everything (or at least most of it) can be done in the same environment, but the documentary "never tackles the issue of character development head-on" !O^|6P&E0

g3~F1F/QP0. In any case, most feature films deal with this problem. Whenever this problem is given to a non-professional actor, he often becomes extremely unnatural in front of the camera. It has to be straight, but generally speaking, professional actors are required to fully portray the character. There are many stars who can actually take on this task. Paradoxically, non-professional actors who are too nervous tend to behave like this. A poor actor. A professional actor using his talents may end up looking like a real non-professional actor, and thus enter into a state of acquired innocence. He is both an actor and a tool; and the quality of this tool-he. His innate ability to become himself in real life is as important as his ability to use this tool. In other words, the success of a film actor depends on the non-actor factors in him.

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2. Performance characteristics of "non-performance"

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True Colors First: There was such an incident on set: the famous stage and film actor Frederic March was acting in a movie scene, and the director interrupted him. " I'm sorry, I have to do it again," the star apologized, "I always forget it's a movie and I'm not supposed to act."

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< p>F6bs^)^`0 Even if this is not the whole truth about film performance, it is at least the most important part of it. Every time the Museum of Modern Art in New York performs old films, the audience always has to react. Their laughter showed that they wanted the characters in the film to behave naturally. This is why Hitchcock advocated "passive acting - doing nothing." The ability to express words." More precisely, a film actor must act as if he is not acting at all, but is simply a real-life person caught on camera in the act. He must become one with his character. In a sense he is like a photographer's model.

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;zO?\U0Randomness: Portrait photography contains, and should contain, some fragmentary and accidental things. Therefore, the film actor must make all his expressions, gestures and postures, in addition to their own meaning, related to the discursive content of the entire film that prompted their appearance, so as to become one with his character. These expressions, gestures and postures must have a certain randomness and appear to be parts of an endless play.

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Therefore, a film actor’s performance can only be performed when he does not simply perform for the purpose , this kind of performance is faithful to the film method, and only in this way can the life he reproduces be truly cinematic.

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3. Comparison between dance dramas and film art performances with the same theme

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`0\iggWgEl{0From the above-mentioned characteristics of dance drama performances and film art performances, we realize that there are two kinds of actors on the stage and screen: "actors who perform" and "Actors who keep their true colors". Let's use practical examples to illustrate this point. China Dance Network C Ra5GYf

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Adapted from the movie of the same name. The dance drama "Sparkling Red Star" is based on the same theme as the movie, starting from the dance itself, using new dance thinking to interpret a well-known history and create an already vivid artistic image. In the dance drama, the choreographer and director. With personalized dance drama structure and dance thinking, and using refined and appropriate dance language, it shows us dance drama characters such as "Pan Dongzi", "Father", "Mother" and "Hu Hansan" that are different from the movie characters. The dance language of "Sparkling Red Star" is a comprehensive dance language that combines classical dance, folk dance, ballet, and modern dance. Because the dance drama itself has no fixed language pattern that must be followed, it completely obeys the needs of the content, so we The body expressions seen in the dance drama are novel and smooth, and they are as smooth as flowing water. Like the Red Army's "kneeling down" to the people in the old area when they retreated, they accurately reflect the reality of history. This action, which is impossible to appear in the movie, is in the dance drama. However, it is in line with the reality of art and has a great impact on the audience. China Dance Network [f RVv*V5N)r'\e

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The character of Pan Dongzi in movies and dramas can allow him to accept revolutionary principles through the words of adults, but the principle of dance drama cannot be like this. Therefore, in the dance drama, the director designed the character of Dongzi in this way: a group of people use it. A small round platform lifted Pan Dongzi out, and then started dancing around him. Dongzi looked at everyone with astonished eyes. He saw the adults engaged in an amazing struggle in front of him. How simple and natural this is dance. "Preaching". Dongzi is in a solo position. What the audience sees is his dance - his thoughts are changing, while the group dance abstracts the dance of revolutionary struggle. This is the ingenious fusion of the two.

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It is worth mentioning. Yes, the author was very fortunate to participate in the performance of the dance drama "Sparkling Red Star" and played the role of the protagonist Pan Dongzi, so I have a very deep understanding of the differences between dance drama performances and film art performances of the same theme.

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My first contact with this aspect of character creation started with the dance "Begonia". Before I performed this work, the choreographer asked me to watch the movie "Farewell My Concubine" because the dance he choreographed was inspired by the protagonist Cheng Dieyi, so I tried hard to find the motivation for the performance in the image of the movie character Cheng Dieyi. .

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In this two-hour film, the director reveals the short life of actor Cheng Dieyi very profoundly through the lens , his attitude towards art and life. I remember that what impressed me most was the phrase "from one to the end" that appeared several times in the movie. This is his belief and the belief that the character I played should have. This belief, as an implicit thread, has been running through Cheng Dieyi's entire life. In the movie, Cheng Dieyi is a female actor (before liberation, male actors in operas were all dressed up as women). The dance shows a man in Tsing Yi (also a man dressed as a woman). They have something in common: they both require the character of a woman to be expressed. The character Cheng Dieyi is a person who does not distinguish between the inside and outside of the play. He always thinks that he is Yu. Ji, his senior brother is the overlord, so whether in or out of the play, he lives in a real state of his own fantasy. He combines himself with Yu Ji, true and false, half himself and half Yu. Ji, Yu Ji's gentleness and implicitness are mixed with her own feelings towards the opposite sex that she shouldn't have towards her senior brother.

In the movie, the actors use a lot of detailed behaviors that are life-like to perform all of this, but in the dance, the design of this character is completely non-life-like body language. China Dance Network YV) |o At the beginning of the dance, he hunched over, stood on tiptoes, and walked tremblingly from the side curtain to the center of the stage. In a sequence, the characteristics of this character were told to the audience. He is an old man who is engaged in art. The hunched posture of the old man in life is exaggerated to highlight the "oldness". In addition, when the old man on the stage sat cross-legged on the ground and touched the prop (phoenix crown), he pointed out the orchid and then suddenly retracted it. As if he was afraid of breaking the phoenix crown. This action also showed the professional characteristics of the old man. He was an actor. Then, the old man's hunched posture gradually changed into a straight-backed dance posture, and the small steps in the circle made the audience feel graceful. The girl is performing while looking at her headdress (phoenix crown). Since the dancer is male, the dance posture performed is female, and the use of props makes it clear to the audience that it represents the image of a female actor or Qingyi in the opera. < /p>

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Another example: In the "Mother's Sacrifice" scene in "Sparkling Red Star", the actor danced a A series of dance vocabulary with large movements and strong speed contrast, such as: jumping directly in the air and then landing directly on the knees, making a series of rolling and twitching movements on the ground, which expresses Dongzi's grief-stricken psychology; in the movie, for this The performance design of one scene is a close-up of Dongzi's eyes, highlighting the hatred in his eyes.

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,A1X_6|t v%OQ0 IV. Conclusion

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'BG F5\ E0 Chinese dance drama is a variety derived from drama art. In addition to its unique means of expression, dance drama does not go against the laws of drama art in terms of observing life and shaping typical images. In other words, the highest task of dance drama is to Create typical images to reflect the essence of life. This is no different from film art, except that film is an art that combines picture language through film, while dance drama is an art that combines dance language through the human body. From this point of view, there are similarities in the creation of characters in film performances and dance drama performances, but their expression methods are different. Film is a life-oriented art that uses montage expressions to express feelings, while dance drama is a stage art that uses symbolic body language to express feelings.