The Greatest Showman

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Renly is an actor, and that hasn't changed, no matter what the outside world says.

For a long time, he has been trying to explore acting skills and study acting skills in his own way, hoping to blaze a path of his own and climb to a higher peak of acting skills, not to surpass a big winner or create any records, but to constantly surpass. In the field of art, self-improvement and self-improvement are the pursuit of a "perfect state" that can never be reached or even does not exist at all.

It's not an easy road, and it may be a road with no end in sight. However, Renly had no regrets.

Last year's "Anti-Cancer Me" was the first time he touched a breakthrough in acting skills. It really broke the performance barriers between Methodism and Expressionism. Give the character a more realistic, delicate, and three-dimensional texture, and integrate the performance with the character.

In the subsequent "detachment", he went a step further, finding the common ground between Methodism and Expressionism in the context of performance, giving more strength to the character with his own understanding, and integrating the core idea of ​​the script into the character, truly Taking the character as a part of the film, pursuing the overall harmony and harmony.

In the current "Gravity", he completely blurs the boundaries between the two performance methods, gets rid of the rules of performance methods, and examines the characters and performances from a higher perspective.

Every actor should know that the performance method is just a medium. In the final analysis, the task of the actor is to give life to the character. Whether it is method or expressive, as long as it can achieve this, it is an excellent performance.

For many talented young actors, they don't know how to perform at all, and they just rely on their instinct/ability to perform, and then give the character a unique spirituality and texture. So did Jennifer Lawrence in "Winter's Bone," and so did timothee-chalamet in "Call Me By Your Name."

However, if you want to make further breakthroughs in performance, it will not work only by relying on talent; methods and skills are indispensable, and spirituality and temperament will gradually become routine in day-to-day performances , and then lost its unique texture, and must use skills to take it to the next level. This is precisely one of the differences between Hollywood and Europe.

In Hollywood, talented actors like Macaulay Culkin emerge in an endless stream, but they fade away too quickly, like shooting stars, falling quickly. Hollywood can't wait for them to complete their transformation and evolution, and there is already a batch of fresh faces. instead. As a result, the performance skills are getting simpler and more crude, and the accumulation of new generation blood is becoming more and more difficult.

In the European film industry, whether it is a young actor or a mainstay, they must go through such a process: simply rely on talent to perform; learn and study, perform through skills; finally complete the transformation again, return to nature, and integrate skills into their own bodies , gestures, frowns and smiles are all performances.

Expressed with the charm and mystery of oriental culture, that is: see mountains as mountains, see water as water; see mountains as mountains, see water as not water; finally, see mountains as mountains, and see water as water.

This time, inadvertently, Renly opened the door from Phase Two to Phase Three—not just three for Ryan Stone, but three for the actor.

Although, in the second stage, Renly has not fully matured, not fully controlled, or even fully understood, and it is too early to enter the third stage, but...Performing art is never a math problem, it is impossible to follow the formula Step by step, all development is a matter of course, inspiration is the only key to progress.

In the beginning, Renly planned to recreate the performance experience of "Buried Alive", in a method and experiential way, to truly integrate into the character and the environment, and feel the emotions and reality that he had never experienced before.

Gradually, those fictitious facts, circumstances and emotions, little by little, found footholds and leverage points in Renly's ego and id, and then enlarged and expanded step by step, and finally completely evolved into "real". ".

Whether it is a method school or an experiential school, the performance itself gets rid of the frame structure, confuses the boundary between reality and fantasy, truly empathizes with it, and re-examines the characters’ stories, experiences and insights from my own perspective.

Such a statement seems too esoteric and academic to simply illustrate with an example.

In "Buried Alive" and "Transcendence", the characters' experiences and stories, Renly was truly immersed through the personal experience of Methodism, feeling the emotional ups and downs including Paul Conroy and Henry Bass and Mental activity, even in some moments, confuses the difference between film and reality.

But at the end of the day, Paul is still Paul and Henry is still Henry. Those feelings, those experiences, those memories, all belonged to them, not Renly's.

Now in "Gravity", everything Ryan Stone has experienced is completely integrated with the stories of Renly Hall and Chu Jiashu, as if the three characters are different independent individuals, But they were all smashed, rebuilt, and made into a brand new character, the current Renly.

Compared with the "anti-cancer me", this goes a step further and explores a higher level of perception. It can be said that Ryan has experienced Chu Jiashu lying on the hospital bed for ten years, and it can also be said that Renly is really in a desperate situation in space. All these stories have broken down the barriers of time and space and become a whole.

People always say that art

Art comes from life and is higher than life. In each artist's works, more or less one can see his own memories, stories and even thoughts, and even many artists' works are semi-autobiographical, or the evolution and derivation of autobiography. Painting, literature, music, performance, etc., all of them.

In the process of performing, the actor's understanding of the characters' emotions such as fear, happiness, fear, and joy all come from their own experiences and cannot be shaped out of thin air. This is also the source of method acting skills. Robert De Niro has never been a taxi driver. So, in order to play "taxi driver", he really experienced the life of a taxi driver for two months, so inspiration appeared. .

But what's the next step after this?

What if the actor has no way to experience reality in a methodical way? Like it's impossible for Renly to actually be in space, to be an astronaut, and to be in a corner, and so on, there are just too many things actors can't experience for themselves.

So, does this mean that actors can find resonance with characters and stories in themselves in a methodical way, and then generalize and extend, turning themselves into characters and characters into themselves, just like changing The soul is torn into countless pieces, and one of the pieces becomes a character—a character with the actor's personal experience, personal characteristics, and personal understanding.

Going back to the source, the role is a part of oneself, or in other words, an actor's avatar.

When the actor and the character are naturally integrated and integrated, the actor can re-interpret the story, re-read the script, and re-interpret specific plots and emotions from his own perspective and understanding. The core, because actors need to show various emotions in accordance with the director and the script, retract them freely, and control them accurately.

Just like Renly now.

Through the experience of Methodism, Ryan became Renly, and Renly became Ryan, and then during the performance, Renly precisely controlled every emotional node in an expressive way, and truly transformed the performance into a Play as you want, and show the true feelings from the depths of your soul at your fingertips.

After leaving the stage of "seeing a mountain is a mountain", Renly has now left the "seeing a mountain is not a mountain" stage, and has initially glimpsed the realm of "a mountain is still a mountain".

At this moment, Renly can really feel Ryan's existence, but it is very clear in his mind. He knows that he is not Ryan Stone, nor Chu Jiashu, but Renly Hall; but , If he wants to start shooting now, he also knows what situation Ryan is facing and how he needs to perform.

This feeling is very vague and very ambiguous.

To describe it in words, after a long talk, it just became more and more rapturous, and I was dizzy; but the actors could vaguely feel the difference and implement it in their performances.

Although, Renly is not sure whether he really understands, and whether his understanding is correct, everything can only be understood and practiced through the actual shooting that follows; See different levels and levels.

Take Meryl Streep, for example.

Everyone says that Meryl is one of the greatest actresses in American history, but in fact, mid-career, Meryl plays roles that are more or less similar, strong and independent and autonomous. The firm, yet fragile and soft women follow the consistent style since "Sophie's Choice".

With that said, isn't Meryl repeating herself over and over again?

But now, Renly knew, that wasn't the case.

Meryl's performance seems to be the same, and each character can see her own shadow; in fact, each character is also different, with differences in details such as eyes, expressions, movements, and tone of speech, revealed that The inner and the soul that come out are completely different.

Such a performance quality gives each character the characteristics that belong to Meryl but not Meryl. This is the most special.

A similar situation can also be felt in veteran actors such as Daniel Day-Lewis, Judi Dench, and Maggie Smith.

The same situation comes to Tom Hanks, and it lacks such texture. Although Hanks' characters seem to be different, their inner origins are all similar, so that each character repeats itself. Hanks hasn't been nominated for an Oscar since 2000's "Dead Island," and here's why.

The quality of the performance, a magical professional term, now Renly can barely touch it, which also makes him look forward to the next filming even more.

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