“物”、“我”两忘,快心畅神的创作境界的追求,在中国传统艺术中早有论定。石涛曾在《题春江图》描述这种创造境界为:“吾写此纸时,心入春江水,江花随我开,江水随我起。”元代画家吴镇也说:“始由笔墨成,渐次忘笔墨,心手两相忘,融化同造物。”演员创造人物达到这种状态时,创作就变成一种极愉快的艺术享受。演员对人物的一举一动已经揣摩、熟悉到得心应手、游刃有余的地步了,此时此刻,演员身上的机智、幽默气质会充分得到体现,演员也才能在镜头面前做到灵活适应、即兴发挥,使人物形象上升到出神入化的境地。姜文在《北京人在纽约》申的某些片断的表演已经达到、 The pursuit of “material”, “me” two forgotten, heart-quick creation of the realm of creation in the Chinese traditional art has long been determined. Shi Tao once described the creation of a realm as “I write this paper, I am going to enter the river of spring, and I am going to open the river with me,” said Wu Zhen from the Yuan Dynasty. Into, gradually forgotten ink, heart two hands forget, melt the same creature. "When the actors to create this state, the creation becomes a very enjoyable art. Every actress has figured out the figures, familiar with handy, ease ease, and at this moment, the performers wit, humor will be fully reflected, the actor can also be in front of the camera to be flexible, improvisation, make people Image up to superb situation. Jiang Wen’s performance of certain pieces of the Beijingers in New York has been reached,