In the latest episode of Li Chengru's personal column program "Drama Confucian Life", Li Chengru set his sights on the culture of niang cannon.
Li Chengru talked about the military theme works, mentioned that there are many classic works, such as the public familiar "Bright Sword", "The Years of Burning Passion", etc., and he is also an actor who has watched movies since he was a child, he has been deeply influenced by those old artists, and he has also learned the true meaning of performance, the old artists are simple, but today's young actors are missing these.
The main problem is the makeup, people do not believe that it is the makeup of that era, especially in the military theme works, it is even more dramatic, some have just come down from the battlefield, but the makeup is not at all the way it should be after the war.
In Li Chengru's view, this is basic common sense.
Actresses, in particular, can kill her if they don't let her put on makeup.
Li Chengru especially gave the example of "Shangganling", in the film, the actors also put on makeup, but it is by no means to beautify, it is all to be real, so it looks touching.
And for those actors today, do not create heroes, old guns, bluntly say that they can't stand it.
Li Chengru said that what he has received from childhood is a hero, men always have to be a bit of a man, men always have to be a little masculine, can not be muddy all day long.
Speaking of this, Li Chengru also mentioned the problem of young actors playing games on the set, which was quite disgusting, I thought they were holding mobile phones and computers to learn, but I didn't expect to look closely at the game, so when you shoot, how can you devote yourself to it?
For being an actor, it is necessary to shape the character in a down-to-earth manner, which is the most important and should be done.
Some time ago, radio and television also issued a clear text to resolutely resist the deformed aesthetics such as the niang cannon, that is, it is not normal to regard the niang cannon as a deformed aesthetic now.
After that, the entire literary and art circle launched various verbal criticisms of niang cannons.
For makeup, it is a professional requirement for actors, but as Li Chengru said about shaping the role as an actor, makeup is to serve the characters, not to please the audience, so beauty is not the main thing, the main thing should be real, real fit the characters.
Including the big era in which the characters are located, the small environment, family, work, etc.
However, today's makeup is to highlight the beauty, in the period drama, the characters seen are no different from today's people, there is no sense of age at all, it is difficult for the audience to substitute into the work.
Of course, some works are more to promote the deformed female cannon aesthetic, male actors to women's makeup, even more charming than women, of course, this kind of work still has a lot of audience to see, but obviously this can not become the mainstream, because it loses the appearance of men, blurring gender, causing confusion, the impact on teenagers is huge.
In addition, the war drama is even more hairspray wax coating, hair polished, clean and neat clothes, just like Li Chengru said after a big war, the hairstyle is not chaotic, the face is still as clean as ever, is this the real battlefield?
So everything is out of order.
In fact, why today's actors act like themselves, makeup is on the one hand, on the other hand, they simply do not understand the script, read the characters, and have no similar experience.
Film master Director Xie Jin, before each filming, will take the actors to experience the life conditions of the characters in the script, this life experience is very important for the actors, so as to remove their own characteristics, really touch the appearance of the characters, and the other is to write a sketch of inspiration, for the re-creation of the script, through the form of sketches to really understand how to act in each play, after such rehearsals, it begins to enter the shooting stage.
Although such a set of methods and systems will take a long time, it is precisely in this way that director Xie Jin has shot many classics and cultivated excellent actors. This was true even for the biggest actors back then, but how many young actors do today.
Behind the culture of the female cannon is not only the problem of the actors, but the problem of the whole circle, the traffic thinking under the leadership of capital, everything is for the flow and heat, and it does not consider the quality of the work and the acting skills of the actors at all, so that there are fewer and fewer classic works today, and there are fewer and fewer truly excellent young actors.