Chapter 608 [2] Qin Jue 0724 "Gathering of Wonderful Shadows" Interview 605

Chapter 608 [2] [Qin Jue 0724] "Gathering of Wonderful Shadows" Interview 605

"RayE"·Exclusive interviews with actors (Part 1)

Exclusive interviews with reporters in this issue: Wang Zhi; Fang Muquan; Zhao Liang

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[Qin Jue: Falling in love with acting due to fate]

Q: What inspired you to become an actor?

A: I met director Jiang Shuming. I never thought I would go into acting. (At the beginning) I wanted to engage in music. Yes, music was once my dream. But something happened later, and I felt that I was not very capable of doing it. I happened to meet Director Jiang, and he said that I was very suitable for the role of the young Chi Na in "The Cage". I said that I had never acted before, and he said, " It’s okay, I’m very experienced in coaching actors how to act in their true colors.” From then on, my acting career officially began.

Q: What a wonderful fate. If you were obsessed with music before, does that mean you are not averse to entering the entertainment industry or performing in front of others?

A: Not really (laughs). I am the type who only likes to play in a small circle with close people, and I prefer to be behind the scenes than in front of the stage. If I had insisted on making music, I might be an unknown songwriter now. Well, I don’t like the feeling of being looked at too much. Of course, if I have to stand on stage, I can do it and adjust my mentality to enjoy it. It’s just like “She Niu She fears duality”, haha. Many people are like this. They can socialize freely outside, but actually enjoy solitude inside.

Q: I see. So what made you fall in love with acting?

A: There are many factors. I participated in the filming of two films. Due to some personal matters, my personal situation was relatively dangerous at that time. I happened to play relatively negative roles, so I had a kind of venting in my heart (emotions). ). I thought maybe I could take the opportunity to "release" part of myself. There was indeed a lot of fighting in those two movies (laughs). At the same time, during this process, the director, the actors in the same group, especially teacher Cen Yi, as well as the characters and the plot itself, all had a particularly great impact on me. I came out of a confused and unstable state. I began to like acting, accept the role, and accept myself. When a career allows you to reconcile with yourself, find the meaning of life, and gain personal and social value, it's hard not to fall in love with it.

Q: I didn’t come from a major, but I became an actor by chance and fell in love with acting. How did you improve your acting skills? Do you want to get into an arts university and become a major student?

A: No. The university and major I am applying for are relatively behind-the-scenes, a composite major that includes art. In terms of acting, because I was a monk on the way, I was exposed to "acting with true colors" from the beginning. Then the life experience of the second character has many similarities with myself. It can be said that I became an "immersionist" naturally. "actor. It seems that this situation is not very suitable for studying in a major. The director also said that if I study systematically, it will destroy this "aura" and "wildness". So I accepted his advice and studied professional books on acting on my own while using more roles to hone my skills and make breakthroughs. There were often sidetracks here, but the theories and methods I developed by myself were indeed It’s very impressive and will benefit you for life, just like learning to ride a bicycle or use chopsticks (laughs).

Q: Is this the reason why you chose to participate in the variety show "Entertainment Intern"?

A: That’s right. This program was also recommended to me by the director and teacher, and I am very grateful to him.

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[Qin Jue: Exploring the “wild road” to move forward]

Q: Just now your eyes lit up when you talked about performance-related topics. I'm curious. "The Cage" was filmed in August last year, when you first came into contact with acting. It was more than half a year after the first round of "Entertainment Intern". The role of "Young China" is good at martial arts and has almost no literary drama. How did you make up for your shortcomings during this time?

A: One is to take classes, and the other is to practice a lot. After filming "The Cage", I happened to be in a state where I felt homeless, so I asked Director Jiang if I could stay on the set and do some part-time work. Yes, want some sense of belonging. During this process, Director Jiang and Brother Cen Yi helped me a lot, guiding me and giving me guidance. My earliest experience in literary and opera was gained from taking classes next to the director and watching Brother Cen act on the spot. After that, I filmed my second movie. Many of my shortcomings, such as basic skills such as writing, crying, and speaking and breathing, etc., were all practiced at that time.

Q: It sounds like a huge improvement in a short period of time. This is amazing. Your acting experience is less than a year so far, but you feel very mature and sophisticated. Can you talk about your understanding of performance?

A: Can I give a longer answer to this question (laughing), thank you. In my opinion, performance can be divided into three stages. The first is "action", the second is "action", and the third is "play". They are an inclusive and progressive relationship. Expressed in words, "action" is a very simple objective description. For example, "walk a few steps", "drink a few sips of water", "grin". There is no causal relationship or emotion involved, it is just an action. So "action", action contains actions and brings with it the logic of cause and effect. For example, "Because I'm thirsty, I took a drink of water." In other words, the underlying logic of a character's behavior comes out. With the cause and effect, this action has corresponding meaning. So what is "play"? "Play" is equivalent to adding a description to "action". This description can be descriptive or adverbial. For example, "A person was so angry that he had a dry mouth because of something, so he picked up a mineral water bottle and took two sips. However, he choked because he was so eager to drink, so he coughed angrily and crushed the mineral water bottle." This is It’s a complete scene. Performance is ultimately a "drama".

Q: Although you said that you are a wild person and an immersion person, your answer is very systematic and has a "professional feel".

A: I am a typical person who works backward from the answer to solve the problem (laughs). At first, I didn't pay attention to the elements of "movement" and "action". My approach was to completely empathize with the character. If there were similarities, I would let the character cover me. If there were completely different parts, I would put my own. Lose the personality and let me become him completely. In this "complete immersion" situation, I and the character are one, just like being "possessed", so some subconscious thoughts and behaviors are actually done by the character. When I was acting, I didn’t even know why I was doing it. This resulted in me not having to practice specific "actions" before, nor did I have to think about the cause and effect logic of this "action". This is a very "opportunistic" behavior, and it can be very convenient if used well. After the performance, I will use the results of my performance to review the logic of the performance, which is to supplement the character's biography. Only then did I gradually figure out this series of theories. When acting now, I combine acting methods with immersion in the drama, trying to bring out the advantages of both to shape the character better.

Q: Is this the same for eye scenes? From "The Cage" to "Feiyan", your eye scenes have always been amazing.

A: Thank you for your affirmation. During immersive acting, many eye scenes are performed naturally. Whether the eyes are widened or narrowed, the brows are wrinkled or not, whether the forehead is tight or relaxed... these are all driven by "entering the play". At present, I haven't specifically designed the look here, such as the point of gaze, the movement of the gaze, how to blink, the frequency of blinking, etc. It won't be as detailed as this. Usually, I communicate with the director and hear him say, "We need a sad look here," "We need someone desperate here," etc., and then we go into the play with this feeling in mind. But this also requires a lot of preliminary preparation. According to my personal classification, it is "hardware equipment".

Q: Can you talk about this "hardware device" in detail?

A: Actually, it refers to the physiological things of an actor, such as facial muscles and vocal cords. If you want to make appropriate expressions and eyes, you must first ensure that the muscles used must be flexible. Otherwise, once you enter the scene, you will subconsciously want to laugh or cry, but you will find that your face is very stiff and you cannot move widely or make subtle movements. If the ground changes, of course it will get stuck immediately. The same is true for lines. You need to open your voice first and exercise your vocal cords, tongue, and oral cavity. First, let the hardware not hinder you and make your articulation clear. Then you can exercise your soft skills, that is, add emotion, and add appropriate pauses and breaths. This concept is easy to understand in martial arts dramas. Martial arts movements definitely require a stable lower body, straight arms when punching, etc. But in literary dramas, people sometimes don’t pay much attention to this aspect. In fact, the core concepts are the same. of.

Q: You can now be said to be "both civil and military". Judging from your works so far, it seems that you are very good at both explosive and restrained performances. Will the difficulty here be different?

A: That’s an award. I feel like I just touched the threshold. I can only say that it’s not a stretch, it’s still passable. In terms of difficulty, from my personal experience, they are pretty much the same. Because even in explosive scenes, actors are required to be both rough and subtle. They can’t just throw everything out just because it’s an open performance. They also have to release and close, so as to create tension back and forth and avoid monotony. Although restrained performances are suppressed, sometimes the emotions contained in them are also very intense, just like the arrow is already on the string and the bow is fully drawn, but it just remains tense.

Q: I think the scene between Qin Feiyan and Shen Danqing in "Feiyan" can be a good annotation for this section.

A: That’s right.

Q: Speaking of opposite roles, do you think there is any difference between opposite roles and one-man shows? Do you have a preference for which one?

A: I think what I say sounds very diplomatic, but the fact is that each has its own advantages, and of course each has its own difficulties. It’s hard to say which one I prefer. A one-man show means that the actor has to hold on to the scene, and the performance must be very contagious. In contrast, a rival show can actually help each other. Two or more actors provide support to each other and bear part of the "atmosphere of the play". But in contrast, a one-man show gives the actor more space and more freedom, making it easier for you to adjust and grasp it yourself, while a rival show needs to be adjusted, and "balance" is also very important.

Q: Does the balance here refer to the acting skills of both parties? Or is it the aura and momentum?

A: This is a long story. Because acting skills and aura are variables, it not only depends on the compatibility between the character and the actor, but also on the setting of the character itself, and more importantly on the plot scene at that time, and specific issues must be analyzed in detail. Like Qin Feiyan and Shen Danqing in "Feiyan", or Qin Feiyan and Li Zhi, the two parties are on the same level, and their aura and acting skills must also be grasped, and they must go back and forth to pull each other back. But if it's Qin Feiyan and Li Zhe, or Qin Guiyan and Su Su, the character I play is the stronger one in terms of plot and character setting. At this time, I need to adjust my acting state. Because considering the overall look and feel of the work, even if there is an obvious contrast between strengths and weaknesses, if one party completely suppresses the other in a rival scene, the result will still not be good, and the director will be very embarrassed.

(To be continued)