The difference between ballet and film

There are two differences between ballet dancers and film actors: the first difference lies in the skills they must have to meet the requirements of their respective artistic means. The second difference is their respective functions in stage plays and feature films. China Dance Network Ji2wx # Ao

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Film actors occupy a unique position at the junction of stage life and non-stage life. There is a great difference between a film actor and a ballet dancer, which was recognized as early as the early days of film invention. At that time, regine and sarah bernhardt performed a stage play in front of the camera, and the camera mercilessly dismantled their stage. China Dance Network -]`0R5x I ]B! D

) lv9i+b8g u "\ 0 i. Performance characteristics of dance drama China dance network fp BL}2v, q

Y 1|F@ t/pEIRj0 "Dance drama is a condensed art". Successful dance drama not only comes from life, but also is highly summarized, refined and concentrated by artists. China's choreographer inherited the aesthetic tradition of pursuing meaning and constructing poetic realm in China's traditional art, and their dance drama reflected life no longer as the prototype of life, and the national dance displayed was not the original ecological national dance, but an exquisite China dance drama. In artistic expression, it pays attention to concise language, rich imagination, strong feelings and far-reaching artistic conception, which makes fantasy more than reality, poetic generalization more than life display, emotional expression more than plot description, and has strong poetry. China dance network gi-{t, ooop: l

T P # { T:AD； n(？ The artistic concentration of 6x0 China Dance Drama is also reflected in the poetic and sublimation of characters' spiritual world and emotions. A high-grade dance drama should be like a poem, with a complete story and vivid characters, and a strong lyrical color. Through psychological description, the drama and lyricism in dance drama are harmonious and unified, and the perfect integration of poetry, dance and music is pursued. China Dance Network G! l . E . k！ Ja)z

1unset5anwv0 Therefore, the core of dance drama art is to create vivid and vivid characters, and the choreographer of dance drama should design dance vocabulary according to the emotional flow of characters' personality characteristics; Ballet dancers, on the other hand, need to combine dance skills (external skills) and performance skills (internal skills) perfectly to create a character with personality characteristics. Therefore, it is the main criterion to evaluate the success of a dance drama, and it is also the main criterion to test the choreography skills of a dance drama. It is also at this point that ballet performance is different from film art performance. China Dance Network "HX" PD1CD2H

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1, "both form and spirit" China dance network 5W"K4n9n'L(b E

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Generally speaking, dance drama directors pay attention to three conditions when choosing actors, especially when playing the leading role: temperament, image and technology.

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The image of TfH#W T0 in 6A is an actor's appearance condition, including figure and appearance; Technology is a professional skill acquired by actors through strict training; Temperament belongs to the psychological characteristics of actors, which is not only restricted by individual biological organization, but also influenced by living environment and acquired education. China Dance Network "7b2af (JC {3mpj

The actor's temperament in f4qG6S0tLs0 dance drama performance refers to the individual psychological characteristics of the actor in artistic creation activities, and it belongs to the creative material as well as its appearance conditions and professional skills. In the actual dance drama performance, it is not difficult to find that actors with well-trained professional skills and rich performance experience have obvious personal temperament characteristics in the performance activities.

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L"G9@ L8_"o8O0 ballet dancer's temperament and image (including body image and appearance image) belong to the first noumenon material of the actor, and the skills belong to the second noumenon material after processing. Therefore, temperament is a special material for artists. When we evaluate an actor's performance level, it actually includes his material body and appearance. Spiritual and artistic accomplishment, unique symbol of temperament, performance of technical skills and many other factors. The image and skills of dancers belong to intuitive materials, while temperament belongs to non-intuitive perceptual materials, and they interact with each other. Without this side, they cannot show the other side. In ballet performance, there is no artistic temperament without physical movements, and there is no physical movement without personal temperament; The relationship between them is similar to the relationship between "form" and "spirit" in the best works of art, without which "spirit" cannot be revealed, and without "spirit", "form" will be scattered. The relationship between ballet dancer's temperament, image and technical skills is the concrete embodiment of this relationship. China Dance Network1b. X#G*X a6UZMc#qf q

CrAt3O02, with distinctive movements and dance modeling, China Dance Network T? @; C#Z nqe-A

*a9y*{H8pwQ z0} Dancers always show their own artistic characteristics in every link in the process of image-building, which is determined by dance as a special means of expression of an art form. Although the ballet dancer has read the script and listened to the director's explanation and music in advance, it is still difficult to imagine the "dance lines" of her future role in advance, so the ballet dancer's first task should be to learn the movements and turn off the music. China Dance Network i8zzw/hx8[$?

'Lz^ cC！ KMo6i 1xc0 dancers can't ignore the special expression means of ballet in revealing characters' personalities. Only when they really master and are good at using specific dance expression means in ballet art can they produce perfect characters. Because: dance and pantomime in ballet are often mixed together, and it is difficult to distinguish them, especially the plot dance that expresses dramatic contradictions often has a certain pantomime component; The artistic strength of pantomime in ballet art often depends on the accuracy of gestures, the vivid modeling of expression content, the musical sense of action and the strong passion in role performance. Therefore, a pantomime that can deeply depict characters depends on its distinctive movements and dance modeling. Although ballet has no movements in daily life, in order to make the ordinary audience understand the content, actors need to have more substantial role emotions and higher physical expression skills. Only a dancer is good at combining the profound psychological description of the role with the mastery of the performance means of the dance drama, can he create a distinctive character image in the dance drama. China Dance Network] 9R6c7vG:c-`ap

H9A6VI2 | 0RDL0Second, the characteristics of film artistic expression

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Generally speaking, when comparing the performances of film actors and ballet dancers, we always talk about the exaggeration and exaggeration of the latter. In fact, ballerinas don't paint realistic portraits because it won't have any influence on the stage. Instead, he relies on hints to convince the audience that they are facing his role. Under the influence of these hints, the audience suddenly felt that they saw something that didn't really exist. His situation, his body movements tell his motives, fears and wishes-all of which help the audience to supplement his performance, so the image he created has gained breadth and depth. He may play until the dragon is alive. However, life itself-the confluence of various subtle ways of existence-is outside the stage performance, and a film actor's performance must rely on his nature to show his character that he should reproduce.

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1, the actor characteristics of the first natural China Dance Network NT: \ 3b+zpkk` yb5 ~ E.

^p(x； G#v s0 If you consider the importance of a film actor's true colors and his role as raw materials, it is not difficult to understand why many film directors always rely on unprofessional actors to perform their stories. Epstein said: "No scenery or clothing can have true appearance and color. It is impossible for any professional actor to make the wonderful professional gestures like sailors or fishermen. A kind smile or an angry cry is as difficult to imitate as a rainbow or a raging ocean in the sky. "

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Non-professional actors sometimes seem to be the most popular things in some national movies. Russians trained unprofessional actors in the revolutionary era, and so did Italians after they got rid of fascist rule.

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Of course, when discussing the use of professional actors and non-professional actors, the latter proved to be satisfactory only in documentaries. In the documentary, "non-professional actors have done everything (or at least most) that the best professional actors can do in the same environment." However, the documentary "has never been directly exposed to the issue of comprehensively portraying personality".

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G3~F 1F/QP0 Anyway, this problem is exposed in most positive films. Whenever this problem is left to a non-professional actor to solve, he often becomes extremely unnatural. He became stiff in front of the camera-as Rossini said-but, on the whole, it is necessary for a professional actor to portray his role comprehensively. There are many stars who can really undertake this task. Paradoxically, an overly nervous amateur actor often behaves like a bad actor. However, a professional actor may look like a real non-professional actor by exerting his talents, thus entering the acquired naive state. He is both an actor and a tool; And the characteristics of this tool-his innate self in real life-are as important as his talent for using this tool. In other words, the success of a film actor depends on his non-actor factors.

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2. Performance characteristics of "no performance"

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True colors first: There is a story on the set: Frederick Ma, a famous stage and film actor, is performing a movie scene and the director interrupts him. "Sorry, I'll do it again," said the star apologetically. "I always forget that this is a movie and I shouldn't perform."

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F6bs) ` 0 The sentence "We shouldn't perform" is at least the most important part, even if it is not the whole truth of the film performance. Every time an old film is staged in new york Museum of Modern Art, the audience will always be amused by the expressions and gestures that make them feel full of stage. Their laughter shows that they want the characters in the film to perform naturally. This is also the reason why Hitchcock advocated "negative expression-the ability to express words with nothing to do". More precisely, a film actor must act as if he didn't perform at all, but a real-life person was photographed by a camera during his behavior. He must blend in with his role. He is like a photographer's model in a sense.

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; zO？ \U0 Randomness: Portrait photography contains and should contain some fragmentary and accidental things. Therefore, a film actor must make all his expressions, gestures and postures, except their own meanings, be related to the loose content of the whole film that prompted them to appear, so as to be integrated with his role. These expressions, gestures and postures must have some random colors, which look like some fragments of an endless play.

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Therefore, a film actor's performance is faithful to the film means only when he does not simply aim at performance. Only in this way can his life be truly cinematic. China Dance Network c t#s"l]5Gz)C

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Third, the comparison of artistic expression between ballet and film with the same theme.

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` 0 \ iggwgel {0 From the above characteristics of ballet performance and film art performance, we realize that there are two kinds of actors on the stage and on the screen: "performers" and "actors who keep their true colors". Let's illustrate this point with practical examples. China dance network C Ra5GYf

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Based on the same theme as the film, the dance drama Sparkling Red Star, adapted from the film, interprets a well-known history with a brand-new dance thinking and shapes a vivid artistic image. In the ballet, the director showed us Pan Dongzi, father, mother and Hu Hansan with personalized ballet structure and dance thinking and refined appropriate dance language, which are different from the characters in the film. The dance language of The 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. Completely subject to the needs of the content, so the body expression we see in the dance drama is novel and smooth, such as flowing in one go. For example, when the Red Army retreated, it knelt down and said goodbye to the people in the old areas, which accurately reflected the truth of history. This action, which is impossible in the film, conforms to the artistic truth in ballet and greatly infects the audience. China dance network [frvv * v5n] r' \ e

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Pan Dongzi's characters can make him accept the truth of the revolution through the words of adults in movies and plays, but the principle of ballet can't be like this. Therefore, in the ballet, the director designed the image of Dongzi as follows: a group of people carried Pan Dongzi out with a small round table, and then began to dance around him. Dongzi looked at the crowd in amazement. He saw the adults fighting a fierce struggle before his eyes. How simple and natural, this is the "preaching" of dance. Dongzi is on the highland, alone. What the audience saw was his dance-his thoughts were changing, while group dance abstracted the dance of revolutionary struggle, and the two were skillfully integrated. This is the plot of dance and the unique language of dance produced by dance thinking.

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It is worth mentioning again that the author was very lucky to participate in the performance of the ballet "The Sparkling Red Star" and played the leading role of Pan Dongzi, so he had a deep understanding of the difference between the ballet performance with the same theme and the film art performance.

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My first contact with this aspect of characterization began with the dance Haitang. Before I performed this work, the director let me watch the movie Farewell My Concubine. Because his choreography was inspired by Cheng Dieyi, the hero of the dance, I tried 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 profoundly revealed the actor Cheng Dieyi's short life and his attitude towards art and life through the lens. What impressed me the most was the phrase "Be true to your heart" that appeared several times in the movie. This is his belief, and it is also the belief that the role I perform should have. As an implicit clue, this belief runs through Cheng Dieyi's life. In the film, Die Yi is an actress (before liberation, actresses in Chinese dramas were all disguised as men), while Dance Begonia shows a Tsing Yi (also disguised as men), and they all have one thing in common: they all want to show women's character. Cheng Dieyi is a person who doesn't care whether he is in the play or not. He always thought he was a concubine and his disciples were bullies. Therefore, whether in or out of the play, he lives in the real state of his fantasy. He combined himself with a concubine, true or false, half him and half concubine. Yu Ji's tenderness and implication are mixed with feelings of the opposite sex that should not be felt by other disciples. All this, in the film, the actor used a lot of detailed behaviors of life to express, while in the dance, the design of this role image is completely a non-life body vocabulary. China dance network YV)|oX N:W\ S+t

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For example, at the beginning of Begonia, the director told me to bend down, stand on tiptoe and walk to Taichung from the side screen. In a scheduling, telling the audience the characteristics of this character is an old man, an old man engaged in art, which exaggerates the hunchback and hunchback posture of the old man in life and highlights an "old". In addition, when the old man on the stage sat cross-legged on the ground and touched the prop (rockhopper), he used an action to stretch out his orchid finger and suddenly took it back, as if afraid of breaking the rockhopper. This action also reflects the professional characteristics of the old man, who is a player. Then, the old man's hunched posture gradually turned into a straight waist twisting dance, and the small steps in the circus made the audience feel that a graceful girl was watching her headdress (rockhopper) performance. Because the dancers are men and the dances performed are women, the use of props makes the audience clear at a glance. It shows the role of Dan in China's traditional drama or the image of Tsing Yi.

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Another example is: In the scene of "Mother Sacrifice" in "The Sparkling Red Star", the actors danced a series of dance words with big movements and strong speed contrast. For example, they jumped into the air and knelt down directly on the ground, making a series of tumbling and twitching movements on the ground, showing Dongzi's grief-stricken psychology; In the film, the performance design of this scene is a close-up of Dongzi's eyes, which highlights the hatred in his eyes.

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，A 1X_6|t v%OQ0 IV。 conclusion

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BgF5 China's ballet is a variety derived from dramatic art. Apart from its unique means of expression, it does not violate the laws of dramatic art in observing life and shaping typical images. That is to say, the highest task of ballet is to reflect the essence of life by shaping typical images. This is no different from film art, except that film is the art of combining picture language through film, while ballet is the art of combining dance language through human body. From this point of view, there are similarities between film performance and ballet performance in shaping characters, but their expressions are different. Film is a kind of living art that uses montage to express ideas, while ballet is a stage art that uses symbolic body language to express ideas.