Chapter 1257： Break through the bottleneck

Matthew Poncelet may be Hugo’s split personality, maybe not, but what is certain is that Matthew represents the dark side of Hugo’s body, just like Amon Goss and Anonymous, they are both It is an integral part of Hugo's personality.

The only difference is that when Hugo played Amon Goss, he controlled himself well; but this kind of control was lost in the process of playing Anonymous, and finally was completely destroyed in the process of playing Matthew, so Yu Yu If the dark part of the personality began to take over the power, the independent personality of Matthew appeared.

Hugo's previous thoughts were correct. He has no personality split. This is just self-lost in the process of delving into acting skills. Hugo's cognition of Matthew deviated from the track, independent of Matthew alone, and separated from himself, so he completely lost control, and even caused the memory to appear blank, completely acting in the form of Matthew.

It's like committing an impulsive crime. At the moment the anger overwhelms the reason, the criminal's brain is blank. He doesn't even know what he has done, and the crime has already been committed. Many criminals can't remember the whole crime process afterwards, and even think that it was just a dream. They might say that the devil controlled their bodies at that moment. But in fact, it is themselves who control them, they have never really known themselves clearly, hidden in the dark corners of their hearts.

When Hugo understood this, his troubles since the "seven deadly sins" were answered. What is method acting and what is expressive acting?

To put it simply, the process of figuring out the role is to assign acting skills, just like Robert experiences the life of a taxi driver. He is using this method to construct a situation he has never experienced before, and then let himself truly feel that situation.

But many times the methodists can’t really experience it. Just like the characters of Amon Goss, Anonymous, and Matthew Poncelet, Hugo can’t really kill people. He can watch the documentary of World War II. He can. Talking to the murderer in prison, but he can't really let his hands be covered with blood.

The focus of method acting is to empathize with oneself and let the actor fully integrate into the role. In addition to the actor's own personality, it is also necessary to create the character and life of the character itself, and interpret the role as truthfully as possible.

As for expressive acting, it is "acting" in the traditional sense. In one sentence, it requires actors to make the most accurate actions and expressions at the exact time. Many acting academies are trained in basic skills to practice "happiness, anger, sorrow, and joy". This is the simplest form of performance acting.

Performance-based acting skills focus on thickness and accuracy, which bring people visual enjoyment. Most British actors are representatives of performance-based acting skills, because the British academy style is very strong. In the UK, actors want to get ahead, basically they need to go through this process: professional acting academy, stage play polishing, and entering the film circle. Their basic acting skills are absolutely commendable.

So after entering the 21st century, many British actors began to aggressively attack Hollywood. This is the reason: Hollywood almost represents Americans. Anyone can be an actor, even without any acting skills, but British actors cannot.

The difference between method-based acting and performance-based acting is actually very obvious. For example, it is also the role of Matthew. The former hopes to figure out what mentality Matthew will show at this moment, while the latter shows Matthew at an accurate time according to the script. Of anger, sadness, struggle, pain and regret. The former will appear more natural and uncontrollable, relying solely on the actor's understanding; the latter will appear more accurate, showing exactly what the director needs, and what needs the actor's control.

There is no so-called high or low level of these two acting skills. Although method-based acting is very popular in Hollywood, many directors require actors to use expressionistic performances. The most famous is Alfred Hitchcock, he even It directly means "methodology is not suitable for my movie".

However, with the continuous improvement and development of acting skills, some actors have begun to try to combine the two performance methods. Unfortunately, there is no absolute representative of super high achievements, and Al Pacino can barely be counted as one of them.

Al was the representative of the Methodist Acting from the very beginning, but as he grew older, Al’s performance methods gradually formed a routine. He began to sculpt the details and incorporate the expressive acting skills into the Methodist school, "the devil's spokesperson." Can be regarded as one of the representatives. However, it is a pity that Al lacked vitality after entering old age. Although his performance is still good, he has not been able to achieve another peak.

The reason why Hugo is troubled is actually because he tried to combine method-based acting with performance-based acting, but Hugo has never found a suitable method.

But after this period of struggle and torture, especially the performance experience of performing Matthew's soul possession to almost split personality some time ago, Hugo has figured out some ways.

Hugo relies on methods to figure out acting skills. He still uses his own understanding to construct the three-dimensional image of the character, but during the performance, some emotions need to be expressed more accurately and delicately, such as anger, how to use eyes, mouth, and body movements Express your anger accurately, even if it is the same anger, there are differences. The anger that rushes to the crown and the anger, the excessive anger and the self-doubt, the eyes spit fire but have to suppress their anger... These different anger methods and levels , To present it in the most accurate way, this is a huge subject.

In fact, this is what Hugo has always been shortcoming, because he came from a non-major class. Although he had taken some acting classes with Charlize and Alex, he still hadn't studied these things systematically. But after years of polished acting skills, including the performances of many wonderful opponent actors, Hugo also has his own understanding of the basic skills of acting.

Although Hugo has contributed many good performances before this, in Hugo's view, it is still not precise and delicate enough, and Hugo is precisely an actor who wins with delicateness. His explosive power lies in Al Pacino and Jack. -Nicholson is lacking in front of these old dramas. He should be more subtle and subtle actors like Dustin Hoffman and Tom Hanks.

Especially for works such as "Pulp Fiction" and "Before Sunrise", performing more requires actors to inject their souls into the characters with their own understanding, so the fineness and accuracy of the performance will have a great impact. However, the "Pulp Fiction" script did not have much discussion on acting skills. After Hugo invested in acting using methods and added his own characteristics, he achieved success; the script of "Before Sunrise" focused more on acting skills. It is precisely that the script was written by Hugo himself, and Hugo's understanding was thorough enough to successfully complete the work.

But "Seven Deadly Sins" and "Death Row" are different. These two roles are completely different, but both require the actors to use the most delicate changes to show the inner complexity of the characters. So Hugo had an acting bottleneck.

At first, Hugo believed that the direction of acting should be to explore the self and who controls the situation. He believed that "Schindler's List" was that the characters controlled the self, so he showed the soul-entering acting skills; while "Pulp Fiction" was self-controlling. The role allows Hugo to inject his own characteristics into the limited space.

But this is a wrong idea. In fact, from beginning to end, Hugo is controlling the role, and the actor is controlling the role. The only difference lies in the actor's understanding of the role and how profound the self-understanding is.

When an actor controls a role, he cannot be controlled by the character's personality, because this is actually himself in essence, just his own different looks and different personalities. Just as nerds also have moments of enjoying the carnival, nuns also have moments of rebelliousness, and murderers also have a soft heart. The actor does not virtualize this role out of thin air when performing, but sculpts the role based on his own understanding and using himself as a specimen.

Therefore, in the process of acting, the actor is not actually performing, but digging out the innermost side of his heart that is closest to the character, and then presenting it in accordance with the trend of the storyline; but at the same time, the actor is not completely performing during the performance. It's all himself, because what he showed might be a completely different character from himself, and then he released it to his heart's content.

What Hugo needs to learn now is how to present the most accurate performance in the most accurate way at the accurate time. What he needs to do is not to put himself into the role, but to gradually release his inner heart, and then experience it in detail " How do I feel when I encounter such a situation" and grasp the whole situation in my hands with precise and delicate control.

To put it simply, Hugo used to control the rhythm of the performance unconsciously, which relied on accumulation and talent, but now Hugo needs to learn to master the rhythm consciously, which requires skill and research.

Just like the role of Matthew, it is also that strong. In the **** and murder scene, Hugo needs to release his inner beast, but he must clearly know why Matthew chose to obey Karl at that moment, why Matthew did not resist, why Matthew pulled the trigger, all of this There is a source, and Hugo knows exactly what the source is. Then, at that moment, how Matthew's madness, loss of control, hesitation, fear, timidity, and violence burst out, Hugo should know better than anyone.

Alcohol is on the brain and poisons. Pin on the brain, anger on the brain... Years of depression, a corner in Matthew's heart has been rotten, he habitually shirks the responsibility to Karl, then indulges himself and convinces himself, only In this way, he can support the whole family, but in fact, deep down, he enjoys such a moment, and he is keen on such a prestige. So, when he sees Hope struggling underneath himself, is there really no pleasure in his heart?

Hugo felt Matthew's soul trembling in the darkness very clearly at this moment, "No, no, Carl..." Matthew tried to stop Carl's brutality, but his voice began to tremble, and he looked blankly. After looking around, he saw the shotgun in the mud at first glance, then he picked it up, shaking his hands at Walter.

His mother, his younger brother, the insults he had suffered, the days he was with Carl, the oppression he received, the pressure from society, his alcoholic father, the constant crying of his mother... all of this Everything reverberated in Hugo's mind instead of Matthew's. His eyes were shining blankly. He himself didn't realize that there were tears in his eyes, but his pupils suddenly widened, and then... just like that. The trigger was pulled.

All this is so real!

An actor is an actor and a role is a role, but an actor is a role and a role is also an actor. Hugo finally realized what it was like. What he needs is self-control, self-expression, and self-regulation. Looking at mountains is not a mountain, and looking at water is not water, but after all, he is the one who watches the landscape, and he is the one who has the initiative.