How to improve the acting skills of drama actors

Ⅰ Line training: 1 Tongue twisters: "beat jujube", "eight hundred pacesetters", etc.

2 Voice training: Echo practice, two people in a group. A shouts, and B echoes A. Then switch roles. Pay attention to volume changes and whether the other party's reaction is correct. Adjust the throat, pant the dog, and wait for training. The articulation is clear and the frequency is stable.

3 Environmental imitation training: Everyone sits in a circle, and each person prepares three hawking sounds imitated from life, and then hawks them one by one. You can also hawk together to create an atmosphere. Pay attention to creating an atmosphere. Restore reality.

4 Duet singing: Men and women are divided into two groups. The men sing one section and the women sing one section, alternately. Pay attention to the use of breath. Old drama performing artists advocate using the abdominal muscles to control the breath. But some people suggest using the chest to inhale and control the breath. No matter which method you use to practice, you must pay attention to the control and adjustment of your breath, and avoid shouting or shouting with your voice. The sound should be round and full.

5 Recitation: First let’s talk about the selection of recitation works. First of all, actors should choose the works they like. If it's a work you don't like, how can you expect the audience to like it? ! Liking is the prerequisite. You have to share what you think is good and valuable with everyone, so you have to tell everyone. In addition, recitation should have true feelings, and avoid suppressing emotions or being pretentious. First of all, we must learn to forget the skills we have learned before and the so-called recitation routines that have been formed, let alone blindly imitate the recitation performances on television, radio and other media; the recitation must be audible, clear, and beautiful. ; These three standards are in a progressive relationship.

You can hear it once you hear it: it’s the requirements for volume, timbre, and breath. Drama performances are different from film and television performances. It is not easy to make the audience in the last row hear what you say in the theater. It requires long-term and serious systematic training. Therefore, actors should cherish every voice practice and pay attention to practice in daily life. and protecting the throat. (Eat less spicy food, drink less alcohol, don’t yell, and try to eat less food that irritates your throat.) There was a question like this in the performance exam. The examiner asked the candidate to whisper to the people next to him in a low voice, but the whole audience should be told All heard. There are also similar questions, for example, there are 10 people in the room and the examinee calls his or her name. There are 100 people, 1,000 people, 10,000 people in the room, how will the candidates control the sound, etc. During the exam, the examiner can also ask some questions based on the candidates' own characteristics. For example, some candidates can't let go of their voices, so they can shout loudly, and some candidates like to shout, so the examiner can ask them to read a song. Love poems.

Second, listening clearly: that is to say, first clearly explain to the audience what you want to express and the article you are reciting. It is also not easy to make an unfamiliar audience patiently listen to your story. , which requires actors to be sincere. Interpret the article carefully. Sometimes in order to recite a classic work well, actors often collect relevant background information to enrich the work. This is very necessary. The audience does not want to hear the same repetition; the actor needs to have new discoveries, new understandings and feelings, which can be conveyed to the audience through your recitation. Therefore, as an actor, you should usually read more books, movies, etc., and use various means to enrich your self-cultivation.

The beauty of three listenings: This is another higher requirement. Whether or not the audience can be conquered depends on the skill of the actor. The same work. Different people often have different effects when reciting. An actor may read the same sentence one way one second, and then try another way of reading it the next. Actors need to think carefully, explore the work from different angles, and then choose the best solution. Of course it is important to respect the work itself, we can only make the work fuller. Be careful not to use it randomly, misinterpret the original meaning and shrink the work.

In line training classes, we should learn and analyze each other, and don’t just focus on skills. True feelings are more direct, and sincerity is easier to impress than any tricks.

6 Storytelling:

On the basis of learning recitation, you can conduct propositional or semi-propositional storytelling training, or you can freely choose materials to compose and tell.

The selection of materials for storytelling is very important. Old performing artists often say, "It is reasonable and unexpected." This means that we must respect the logic of life and respect the reality of life itself. On this basis, refining and processing are carried out to make the work more "flavorful". Don’t make things up, repeat things, or piece together other people’s work. What the audience cares about is your unique understanding of life.

Therefore, when we write stories, it is best to choose things around us, our own unique experiences or borrow valuable experiences from others. Everyone has a different attitude towards life and different experiences, so of course the stories we tell will also have their own merits. Actors don’t have to stick to uniform standards either. The criterion for judging the quality of a story is whether it can truly touch the hearts of the audience. Of course, when I say touching, I don’t mean making the audience cry. Being moved does not mean crying. Touching is a kind of cries based on understanding.

I once heard a story about a border checkpoint. It was snowing and cold in winter, and soldiers braved the wind and snow to stand guard at the checkpoint. Once, a military commander went to visit the officers and soldiers at this outpost. A young soldier reported to the commander that the conditions here were too difficult. The soldiers froze to death. When the chief heard this, he was furious and shouted to the little station sergeant: "Such a thing happened here. Find your squad leader... I want to punish him!" The little station sergeant cried and said to the chief: "The one who was frozen The dead soldier is our squad leader..." Although the story is very simple, it speaks directly to people's hearts. Of course, we don’t have to stick to this example, as long as you carefully observe your life, reflect on your experiences, care about the environment in which you live, and care about the world. You'll learn how to tell stories, and you'll learn a lot in the process.

Through storytelling training, directors can see an actor’s value orientation, aesthetic orientation, character and many other things. Actors can also learn to observe life and reflect on themselves. You can also share the feelings of others. Learn to understand others. This is important for actors to learn to understand.

II Basic Physical Training

1 Personality Liberation:

The actor’s body must not be ignored. Some actors have learned dance before, and some have practiced aerobics. , their own temperament is very good; but for those who have not received physical training, they may not pay much attention to their physical problems, such as walking without swinging their arms, leaning to the side, hunchback, etc. These incorrect postures are very harmful to actors. Generally speaking, it is fatal on the stage (unless the character specifically needs it). Therefore, it is necessary to correct it through training. In daily life, actors themselves must often remind themselves that they are actors and must have the temperament of an actor.

Generally, the physical education teacher can take the actors to sit in a circle with the men and women separated, do some relaxation exercises, and (ask students who are good at dancing to teach you a few simple dance moves) to move their bodies. After that, the physical teacher will correct the actor's sitting position. stand. OK. Incorrect posture during basic movements such as walking. Then play a piece of music for everyone and let the actors close their eyes and imagine freely. Under the guidance of the physical fitness teacher, do various stretching movements to relax your body. When doing it for the first time, the physical teacher can give appropriate hints and guidance, and in the future, the actor can freely imagine. Set your own scene.

Through such training, actors can relax their bodies and correct incorrect postures. Makes the body very comfortable. , helps shape the stage image. In addition, actors should also pay attention to maintaining their figure in their spare time. Do some exercise to maintain your physical condition.

ⅢPerformance training

1 Sensory training:

Let the actors stand in a circle, with men and women separated, and then let everyone walk naturally without specifying directions. There is no stated purpose, no speed limit, and no set scene. (When it is turned on, everyone is likely to naturally walk in a circle and walk in opposite directions) Then the director begins to set a scene for everyone. For example, the school square. It is required to disrupt the order and direction of walking. Feel free to go wherever you want. After that, the director can set up a special environment for everyone. For example, you are all walking on the beach now. The sand is very soft and comfortable to step on. The sun is very hot. The sun is getting hotter. By noon, the sun was shining directly overhead. You find yourself walking in the desert, surrounded by sand. The sand is very hot from the sun and your feet are very hot when you step on it. (At this time, most students will slow down their walking movements and look like they are thirsty) The director can continue to create the environment. One of you has discovered an oasis. (Everyone's performance is different, and the location of the oases is also different. Sometimes 3 or 4 oases are found at the same time.) You walked out of the desert, walked back to school, and returned to the small square. At this time, it began to rain lightly in the sky, and the rain became heavier and heavier, and it began to rain heavily (most people would go to take shelter from the rain at this time, or hide)

Through this training, it can be seen that the actors Some common problems - sameness.

Actors should follow the director's prompts to convince themselves to believe in the environment they are in, and truly feel the scene (although this scene does not exist, in the actor's imagination, it does exist, and it is very full). Only by believing can you go. Experience, feel. The director can tell whether the actor's feelings are in place and consistent with the logic of life throughout the process. The actors believed in the scenes created by the director and experienced the environment with their heart. Still peeping and imitating other people's performances.

2 Observation training

Animal imitation training:

Imitation is a very important skill for people, and actors should pay more attention to it. If you want to imitate, you must first carefully observe the object you are imitating.

The director arranges for the actors to go back and observe animals in life (you can go to the zoo) and imitate three different animals. The bigger the difference, the better. Pay attention to the details of imitation. For example, when imitating a cat, it depends on whether he observes the details accurately. Cat scratching look. The way a cat walks. Cat's eyes, expression. Is it a lazy cat lying on the balcony basking in the sun in the afternoon, or a lively and naughty kitten. The actors also had to capture the characteristics of the cat when doing their homework. Try to gradually capture the cat's expression by imitating the external form. Only in this way can the imitation be perfect. There are also many students who imitate orangutans. When doing this homework, most people pay more attention to the external shape of orangutans, such as puffing up their mouths. Nostrils flare. The way you walk. Hand movements. Even down to the movements of your fingers. It is best for students who are doing this homework to ask them to do a monkey imitation training, so that through comparison, they can check whether they understand the difference in the expressions and forms of the two animals. Sometimes if you want to grasp the animal's behavior well, it is not enough to observe it for a day or two. Some characteristics can only be discovered by long-term observation. Actors can read some books and check some information to enrich the animals they imitate.

Second, observe your opponents and grasp their characteristics:

A team of male actors and a team of actresses stand facing each other. There is a one-to-one correspondence between men and women, and the distance in between is slightly larger at the beginning. Then the director gives a signal, and with each high-five, the actors and actresses in the two columns shorten the distance. During this process, the actors should pay attention to observing each other. In the end, the actor and actress are very close, almost facing each other. (Maybe during this process, the actor feels uncomfortable and laughs. The director should remind the actor not to just laugh without concentrating on observing the other person). After this exercise is completed, let the actors and actresses resume their original distance and ask each person to tell the characteristics of their opponent. See if others can figure out what he was observing from his description. (Note that some actors may say that the object of observation looks like a certain star when describing it. Do not describe it like this. Such a description is a failure. It does not carefully observe the characteristics of the object, but is perfunctory; the observation must be careful, In other words, throw the object of your observation into a crowd of people, and through your description, can the director accurately identify the person you are observing?)

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