First, in the entertainment industry, the title of "old drama bone" is often regarded as synonymous with acting. However, actor Ke Lan's words were like a thunderbolt, tearing open the fig leaf of this beautiful illusion.
"You can't blame the little fresh meat, there are also unprofessional and unprofessional old drama bones, and undedicated people abound." As soon as Ke Lan's words were broadcast, they aroused deep thought from the audience. People began to question: can age really equate to acting? Do some so-called old drama bones just rely on the accumulation of age and the blessing of qualifications, rather than the real acting strength? This question is like a seed that quietly takes root in the hearts of the audience.
As this problem fermented, netizens began to look at those actors who were named "old drama bones" with a more critical eye. They found that some actors do not have long acting skills, and no matter what role they play, they have the same expressions and lines.
This discovery makes one feel disappointed and confused: why are these actors still being praised to the sky? In this context, what should a real old drama bone look like? Many people believe that a real veteran actor should act as conscientiously as Mr. Li Xuejian, never have lace news, and do not need to promote personal fame through hype.
Even at the age of 70, he is still on the active screen, completing every role himself. Mr. Li Xuejian's acting skills are accumulated with age, and each age group has a different acting taste.
This is what a real old actor should look like, not those actors who have been acting for a long time, but their acting skills have never improved. Ke Lan's words undoubtedly opened a window for the audience, allowing us to get a glimpse of some unknown truths in the entertainment industry.
Second, this also reminds us that while appreciating the performances of actors, we must also maintain a rational and objective attitude, and don't be confused by the title of "old drama bone". In the impetuous atmosphere of the entertainment industry, Li Xuejian is undoubtedly a maverick existence.
As a veteran actor in the true sense, he uses his actions to interpret what professionalism and professionalism are. Even though he is past his prime, Li Xuejian is still active on the screen and completes every role himself.
He never relied on hype to increase his popularity, nor did he have lace news, but devoted all his energy to his acting career. This kind of dedication and persistence has made him a role model for young actors to learn from.
Li Xuejian's acting skills have been accumulated and precipitated with age. Li Xuejian of every age can show different acting charms. The characters he portrays are always lifelike and make the audience feel the soul of the characters.
Whether it is his early works or recent performances, Li Xuejian has always maintained a high level of acting skills, showing strong expressiveness and appeal. What is even more commendable is that Li Xuejian has always maintained his love for performing arts and the spirit of study.
He is not satisfied with what he has achieved, but constantly challenges himself and tries different types of roles. This enterprising attitude has always kept his acting skills fresh and vigorous.
Third, Li Xuejian's existence has set a benchmark for those "old drama bones" who have been questioned. He told us with practical actions that the real old drama bones are not built by age, but watered with hard work and sweat.
His professionalism and superb acting skills are undoubtedly the best refutation of the phenomenon of "light age does not lead to long acting". In today's entertainment industry, Li Xuejian is like a lighthouse, pointing out the way forward for actors who are lost in glitz.
His existence allows us to see what is the real old drama bones, and also makes us full of expectations for the future of China's film and television industry. Among the old drama bones that have been controversial in recent years, Wu Gang is undoubtedly a striking example.
He became famous for playing Secretary Li Dakang in the hit drama "In the Name of the People", and this image of integrity and thinking about the people was deeply imprinted in the hearts of the audience. The reason why the role of Secretary Li Dakang is so successful is largely due to the attraction of the character itself to the audience.
In the play, Secretary Li Dakang is in a high position but only wants to engage in a career, and always keeps in mind the purpose of serving the people. Even in the face of his wife's plight of being imprisoned for a crime due to the temptation of money, he was still frank and open, winning the respect of his subordinates and the people.
When Wu Gang played this upright role, he handled the right proportion, which was impressive. However, as time went on, Wu Gang seemed to be stuck in the character he had created.
Fourth, in the subsequent work "Hurricane", the leader of the inspection team he played seemed to be a copy of Secretary Li Dakang, which made the audience feel a strong sense of déjà vu. This similarity of the characters has caused the audience to question: Is this the so-called level of old drama bones? What's even more regrettable is that Wu Gang's performance has the problem of being jokingly called "paralyzed face" by netizens.
In an important scene in "Hurricane", Wu Gang should have shown rich emotional changes, but his facial expression was extremely stiff. In order to persuade the former anti-narcotics police captain Yang Jian to surrender, Xu Zhong, played by Wu Gang, began to shout emotionally and tell about Yang Jian's glorious deeds.
However, Wu Gang's expression was always serious and stiff, looking like a "paralyzed face". When he suddenly changed his words, his expression became hideous, and his muscles flare, the shift seemed so stiff that it made the whole scene a little funny.
This scene was supposed to be the climax of the play, but it was greatly discounted by Wu Gang's performance. Wu Gang's example makes people have to think that if an actor only stays in the aura of a successful role and does not try to break through himself, he may eventually become a prisoner of his past glory.
This situation not only affects the audience's viewing experience, but also makes people doubt the so-called "old drama bones" title. Wu Gang's experience reminds us that true acting skills should keep pace with the times and make breakthroughs.
Fifth, it is difficult to gain a long-term foothold in the highly competitive entertainment industry just by relying on past successes or sticking to a certain performance model. This may be the reason why some viewers will say: "Just age is not long acting".
When it comes to Zhang Tielin, many people's first reaction is "Huang Ama" in "Huanzhu Gege". This role really made Zhang Tielin an instant hit and became a well-known "emperor professional".
In the play, he dressed up in a costume, dipped his fake beard, and stared at his eyes, which was quite majestic of an ancient emperor and was deeply loved by the audience. However, behind this title hides the embarrassment of an actor's career.
After "Huanzhu Gege", Zhang Tielin's film appointments continued, but the roles were almost the same. Not only are the character types similar, but even the appearance is almost identical. He seems to be stereotyped by the role of "Huang Ama" and is difficult to break through.
What's even more regrettable is that Zhang Tielin's performance seems to have stagnated. His trademark "blowing beard and glaring" expression became his all-purpose formula for all his roles.
Sixth, whether it is in costume dramas or modern dramas, Zhang Tielin's performance form and emotional expression are all singular, which makes people feel very embarrassed to watch. This cookie-cutter approach to performance has drawn criticism from peers.
The famous actor Zhang Fengyi once sarcastically said mercilessly on the show: "What else will you do besides staring? Although this sentence is sharp, it speaks to the hearts of many viewers.
Zhang Tielin's example tells us that if an actor is only satisfied with one performance mode and does not try to break through himself, it will be difficult to bring real progress no matter how long he is in the acting.
Although he has a considerable track record in the entertainment industry, the audience has not seen much of an improvement in his acting skills. This situation can't help but make people think: can age really be equated with acting? Zhang Tielin's performance is like a clock that always stays at a certain moment, although it is still moving, it always shows the same time.
This state of stagnation is in stark contrast to people's expectations of "old drama bones". Zhang Tielin's experience reminds us that actors should not be tied down by a successful role.
A truly good actor should be able to challenge different types of roles and show a variety of acting skills. Only by constantly breaking through oneself can we continue to make progress in our acting career and win the recognition and respect of the audience.
Otherwise, even if you have the title of "old drama bone", you may be questioned by the audience: "Acting skills are not long in age". When discussing the acting skills of old drama bones, the names Chen Jianbin and Jin Dong are often compared together.
Seventh, they all have their own masterpieces, and they are all controversial because of certain fixed character types. Chen Jianbin is widely known for the role of Yongzheng in "The Legend of Zhen Huan". However, as the series became a hit, viewers began to notice his seemingly eternal "poker face".
Whether he is expressing anger or joy, Chen Jianbin seems to stay in a fixed state: the corners of his eyes are down, and the corners of his mouth are down. The singleness of this expression puzzled many viewers: Is this what the emperor is? What is even more criticized is Chen Jianbin 's lines.
Many viewers reported that his words were unclear, his sentences were unnatural, and his voice was always low and monotonous, making it difficult to feel the change in mood. These problems not only exist in "The Legend of Zhen Huan", but even in the modern dramas he starred in.
The audience often can't tell Chen Jianbin from his angry appearance, which undoubtedly affects the three-dimensional and realistic sense of the character. In contrast, Jin Dong's problem lies in the homogenization of roles.
From "The Pretender" to "The First Half of My Life" to "Surgery", Jin Dong always seems to be playing the successful elite man: either a lawyer, a doctor, or a company executive.
Counting Jin Dong's works, the roles he plays are generally successful men, and there are few ordinary people. This repetition of roles makes many viewers feel aesthetic fatigue.
What's worse is that Jin Dong seems to have brought this "elite style" to real life. In interviews, he often gives people a sense of pretentiousness and condescension, and this "pretending" posture has attracted a lot of criticism.
Eighth, whether in the play or in real life, Jin Dong always gives people the impression of being knowledgeable and literate, and the solidification of this image makes people feel that it is difficult for him to jump out of his comfort zone.
The famous host Jin Xing once bluntly said that he was disappointed in Jin Dong on the show. She said that she liked Jin Dong very much at first, but as the roles he took on became more and more similar, her expectations for him became lower and lower.
Jin Xing believes that once an actor is framed by a role, it will be difficult to tap his own potential, and it will be difficult to improve his acting skills. The examples of Chen Jianbin and Jin Dong show us that even actors who are called "old drama bones" can fall into the solidification of roles and the rigidity of performance.
A truly good actor should be able to break through himself, try different types of roles, and show a variety of acting skills. Otherwise, even if you have rich acting experience and high popularity, you may be questioned by the audience: "Just age is not long acting".
This situation not only affects the audience's viewing experience, but also makes people doubt the so-called "old drama bones" title. It reminds us that while appreciating the performances of actors, we should also maintain a rational and objective attitude, and not be confused by the title of "old drama bones".
Nine, through the analysis of these controversial "old drama bones", it is not difficult for us to find that real acting strength cannot be defined by age alone. A veteran actor in the true sense of the word should be willing to spend all his energy on his life's work.
Not only has he accumulated over time in terms of acting skills, but he also needs to improve his artistic virtues. An excellent veteran actor should always maintain his enthusiasm and study for performance, constantly break through himself, and show different artistic charms at every age like Li Xuejian.
They should act conscientiously and never rely on lace news or hype to raise their profile. At the same time, we should also reflect: why can some actors with poor acting skills still be praised to the sky? Maybe it's the demand of the market, maybe it's the audience's habitual thinking.
But in any case, we should evaluate the performance of actors with a more rational and objective attitude, rather than simply being blinded by the title of "old drama bone". Only in this way can we truly promote the development of the acting industry, let more outstanding actors stand out, and bring more high-quality works to the audience.
Ten, at the same time, this is also a respect for those really excellent old actors, so that their efforts and talents are duly recognized. Only by attaching equal importance to acting skills and artistic ethics can he be called a qualified and excellent old actor.
This is not only a requirement for the actors themselves, but also what the audience and the entire industry expect from them.