The 1980s were an important turning point in the development of China's entertainment industry. At that time, a young actor named Gao Yalin began to make his mark on the stage and began his acting career.
At that time, the evaluation criteria for actors were relatively simple, and the audience and industry insiders paid more attention to whether the actors could accurately interpret the roles and whether they had stage appeal.
With the development of the times, the prosperity of the film and television industry has provided a broader stage for actors. Actor Gao Yalin also successfully transformed from a stage actor to a film and television actor, and began to emerge on the screen.
With his keen expression changes and delicate movements, he gradually left a unique impression on the audience's heart.
However, with the rise of online media and the diversification of audience aesthetics, the evaluation criteria for actors have become more and more complex. The audience began to pay attention not only to the acting skills of the actors, but also to evaluate their appearance, temperament, and even their private lives.
This has also brought new challenges to many old actors.
In this change, Gao Yalin has also experienced ups and downs. His role as Bian Fagen in "In the Name of the People" made him gain widespread attention from the public again. However, this role has also caused some viewers to question his acting mode, arguing whether he is stuck in a fixed acting mode.
This kind of questioning is not only aimed at Gao Yalin, but also begins to affect other actors who are considered "powerful". Including Jin Dong, Liu Tao, Ni Dahong, Jiang Xin, etc., they were once regarded as acting benchmarks, but now they are also facing the risk of being labeled as "drama bastards".
This phenomenon reflects not only the change in the audience's aesthetics, but also the change in the evaluation standards of the entertainment industry. In this era of fierce competition, every actor needs to think about how to keep breaking through while maintaining their own style.
With the rapid development of the film and television industry, actors on the theatrical stage are increasingly engaged in the screen. However, this is not an easy process, and the experiences of Jin Dong and Liu Tao are good examples.
Their acting skills faced many doubts and controversies in the process of moving to the screen.
Jin Dong, who was once known as a powerful actor, has frequently caused controversy in his recent works. Especially in the TV series "Dear Inn", which will start broadcasting on January 1, 2024, the audience's reaction was very different from what was expected.
Many people think that Jin Dong's performance lacks change, as if all the characters are just a patterned "domineering president", and even one netizen commented angrily: "Where is this good acting?" It's clearly copying the previous role! ”。
Jin Dong's performance in "Infernal" is really surprising. He needs to play a thoughtful policeman in the play, but his expression is so stiff that it feels like a piece of wood on his face, and it's hard to detect even a change in his eyes.
Viewers can't help but wonder if the former acting school has lost his magic.
Liu Tao's situation is also not optimistic. In 2014, she participated in the period costume "Under the Zhengyang Gate", in which she played a stubborn intellectual woman, but her performance disappointed the audience.
Someone commented: "Liu Tao's performance is too hard, and I can't see the inner changes of the character at all" This drama not only failed to help Liu Tao return to the audience's attention, but made her fall into greater doubts.
This transition from stage to screen requires actors not only to adjust their performance skills, but also to redefine the way they perform. The experiences of Jin Dong and Liu Tao tell us that even actors who are considered to have excellent acting skills can hit a bottleneck in the process.
In the face of these doubts, both Jin Dong and Liu Tao are in a difficult situation, and their once proud stage experience seems to have lost its magic in front of the camera. The audience couldn't help but wonder if they should re-examine the true strength of those so-called "drama bastards".
This phenomenon has sparked a discussion in the industry: in this fast-paced film and television era, how to adapt to the needs of the screen while maintaining the authenticity of acting? For actors like Jin Dong and Liu Tao, it seems to be a difficult challenge to win the hearts of the audience again.
In show business, breaking the stereotype and trying out new roles is an opportunity that every actor craves. The experiences of Jiang Xin and Ni Dahong fully reflect the arduous journey of this breakthrough and transformation.
Jiang Xin, the actor who is well-known to the audience for her role as Fan Shengmei in "Ode to Joy", was once labeled as the "smiling goddess". However, only those who really know her know that Jiang Xin has always longed to break through this fixed image in her heart.
Finally in 2011, she waited for this opportunity In the TV series "The Pretender", Jiang Xin successfully created an image of a ruthless spy, showing her aura as a strong woman in the drama.
However, what ultimately made Jiang Xin's acting skills widely recognized was her performance in "Eclipse Storm". She successfully created a mother character with a complex personality with superb acting skills, and interpreted the character's inner struggles and contradictions very well.
This breakthrough performance allowed the audience to see the new height of Jiang Xin's acting skills, and also allowed her to gradually get rid of the label of "vase".
Following "Nanny", Jiang Xin once again showed superb acting skills. She let go of the idol baggage and successfully created the image of a nanny from the bottom with a stubborn personality. The audience was moved by her delicate facial expressions and real performance, and were amazed by Jiang Xin's breakthrough in acting skills.
Speaking of Ni Dahong, his acting career can be described as bumpy. Ni Dahong is recognized as a powerful actor in the circle, who was active on the drama stage in his early years, and has created many impressive roles with his superb acting skills and unique voice.
However, after he switched to the film and television industry, he was once reduced to a supporting role.
It was not until recent years that Ni Dahong really ushered in his "spring". In the popular TV series "It's All Good", he played the role of Su Daqiang, which made the audience deeply remember this "old drama bone".
Ni Dahong successfully created an image of a stubborn, selfish, hateful and ridiculous old man, making the audience laugh with tears and pity in hate.
Ni Dahong's breakthrough not only allowed him to win the audience's affirmation again, but also allowed him to win more role opportunities. In his later works, whether it is a drama or a comedy, Ni Dahong can easily control different types of roles, showing his all-round strength as an actor.
The experiences of Jiang Xin and Ni Dahong show us that even if the actors are labeled as "drama bastards", as long as they have the opportunity and determination, and persist in challenging and breaking through, they can still regain the love of the audience.
Their changes are not only their personal growth, but also have an enlightening effect on the entire entertainment industry.
In the entertainment industry, the two actors, Sun Li and Gao Yalin, have attracted much attention for their superb acting skills and diverse character creation. They have their own ways of acting, constantly trying and challenging, showing the diverse side of the actors.
Known as the "acting school", Sun Li is a strong actor who has portrayed many memorable roles over the years. In "The Legend of Zhen Huan", Sun Li perfectly interprets the growth process of a naïve girl who gradually becomes a court woman full of power and scheming.
Then in "The Legend of Miyue", she showed a completely different side, interpreting the image of a tenacious female politician deeply rooted in the hearts of the people.
However, what amazed the audience was actually Sun Li's performance in "The Flowers Bloomed and the Moon Was Full That Year". The Zhou Ying she plays in the play has changed from an innocent girl, to a shrewd and capable strong woman in the business world, and then to a mature woman who has gone through vicissitudes, and the transformation at each stage is convincing.
Sun Li vividly shows the inner world of the character through delicate expression changes and smooth body language.
At the same time, Mr. Gao Yalin's acting career shows a diverse outlook. As a veteran actor, he has been involved in the shooting of film and television works for a long time, and has played various types of roles in them.
His unique voice and acting style make him unique and impressive among the many supporting roles.
Gao Yalin's acting breakthrough in the 2017 TV series "In the Name of the People" has become the focus of heated discussions. He plays Bian Fagen in the play, and through subtle facial changes and unique body language, he portrays a complex officialdom character vividly.
This role not only made Gao Yalin widely recognized, but also allowed the audience to see his potential and strength as an actor.
However, as time went on, Gao Yalin also faced new challenges. Some viewers began to question whether he was stuck in a fixed mode of acting. In the face of these doubts, Gao Yalin was not discouraged, but continued to look for breakthroughs in different roles.
It can be seen from the experiences of Sun Li and Gao Yalin that really good actors should not be simply labeled as "drama bastards". Their multi-faceted and breakthrough spirit are qualities that an actor should have.
In the fiercely competitive film and television industry, only actors who constantly challenge themselves and break through their inherent image can gain a firm foothold and win the continuous love of the audience.
In today's era of information explosion, the evaluation of actors' acting skills is no longer just the opinion of professional film critics. With the popularity of social media, almost all moviegoers are qualified as potential film critics, which has deepened the diversity and complexity of the evaluation criteria for acting.
On the one hand, audience responses on online platforms are often more direct and emotional. For example, Jin Dong's performance in "Dear Inn" failed to meet expectations, and netizens expressed their disappointment mercilessly.
"Where is this good acting? It's clearly copying the previous role! Such comments abound on major social platforms, and Liu Tao's performance in "Under the Zhengyang Gate" was also questioned by the audience, with some people bluntly saying that her performance was "too hard, and I couldn't see the inner changes of the character at all".
On the other hand, the evaluation of film and television works by industry insiders is relatively more rational and comprehensive, and their focus is more inclined to the overall performance of the actors and the accuracy of the role interpretation.
For example, for Ni Dahong's portrayal of the role of Su Daqiang in "It's All Good", industry insiders gave a very high evaluation, believing that he successfully created a complex and real character image.
However, this double standard also poses some problems. Sometimes, an overly emotional evaluation by the audience can obscure the true strength of the actor. As mentioned in the article, some actors who are labeled as "drama bastards" may actually be trying to break through and try new roles.
At the same time, the difference between professional reviews and public evaluations has also triggered everyone's thinking: what is the correct standard for evaluating acting skills? Is it the intuitive feeling of the audience, or the rational analysis of professionals? There is still no definitive answer to this question.
Under this complex evaluation system, actors are facing unprecedented pressure and challenges. In addition to meeting the exacting demands of professionals, they also have to cater to the tastes of an increasingly discerning audience.
In this case, how to win wide recognition while maintaining the authenticity of acting has become a question that every actor must think about.
In the ever-changing film and television industry, the relationship between actors, platforms, and audiences is changing like never before. With the rise of online platforms, the audience's evaluation of actors has become more direct and immediate, and this interactive relationship has had a profound impact on the career development of actors.
It's still crucial for actors to keep honing their acting skills, as this is what they stand on. Jin Dong, Liu Tao, Ni Dahong and other actors who are regarded as "drama bastards" mentioned in the article are all trying to break through themselves and try new roles.
Their experiences have taught us that even veteran actors need to keep learning and improving to adapt to the changing aesthetic needs of their audiences.
At the same time, how to find a balance between high remuneration and actor value has become a problem that needs to be pondered. A high salary does not necessarily promote the improvement of an actor's acting skills, and even sometimes hinders the actor's progress.
Therefore, how to strike a balance between commercial interests and artistic pursuits is a challenge that every actor needs to face.
From the platform's point of view, it is not easy to choose between commercial interests and artistic value, and the current choice to pursue high-traffic "traffic stars" or support powerful actors has a far-reaching impact on the development of the entire film and television industry.
Finally, let's reflect on our own attitude towards watching movies. Excessively harsh or emotional evaluations may discourage actors' creative motivation, while blind pursuit can lead to the proliferation of inferior works.
We need to appreciate the performances of actors with a more rational and inclusive attitude, which is a topic that everyone needs to temper.
In this day and age, the relationship between actors, platforms, and audiences is intimately intertwined. In order to promote the healthy development of the film and television industry, the three parties must work together.