有一种形式主义的、概念化的表演,演一个少女就笑眯眯地出场了,把嘴摆出了一个姿势,学着嘴角向上兜,做出微笑的样子,笑的没有内容,矫揉造作,使人看了难受。他没有研究人物的笑的内在情绪过程,只注重抓外形,把别人的外形照搬在自己身上,不管是否符合角色的性格、情绪。学做菜看菜谱,学做鞋替鞋样。可你看菜谱、替鞋样,替不了人家的手、人家的经验。概念化的表演,大都是不经过自己细心的揣摩分析,是想抄近路“创造”人物。艺术创作要不得一点点超近路,要根据不同的规定情境把人物的感情绘影绘声、恰如其分地体现出来,才能表演得真实可信感人。 There is a formalistic, conceptualized performance that takes a girl to a playful appearance, puts his mouth in a pose, learns to open his mouth, makes a smile, and laughs without content, makes people watch Uncomfortable. He did not study the inner emotional process of laughter, but focus on appearance, the appearance of others copy to themselves, whether or not in line with the character’s personality, emotions. Learning to cook recipes, learn to make shoes for shoes. But you look at recipes, for shoes, can not replace the hands of others, people’s experience. Conceptual performances, mostly without careful consideration of their own analysis, is to take a shortcut to “create” characters. Art must not be a little too close to the road, according to the different provisions of the situation of the person’s emotional mapping, it is appropriate to show in order to perform truly credible.