The style of costume dramas has now become a common problem for domestic dramas that have too many audiences. And this kind of western-style fantasy, the clean mosquito net cloth and the waist-length hair that is always apoplectic, all come from a hit drama, which is "Three Lives

The style of costume dramas has now become a common problem for domestic dramas with too many audiences. And this kind of Western-style fantasy, the clean mosquito net cloth and the waist-length hair that is always apoplectic, all come from a hit drama, which is "三生三世十里桃花".

There is no doubt that the popularity of the phenomenal drama "Three Lives Three Worlds: Ten Miles of Peach Blossom" directly affected the style trend of the ancient puppet theme in the future. It's just that the "Three Lives Three Worlds Ten Miles of Peach Blossom" at that time was outstanding in style, elegant and simple, but the later ancient puppet dramas were perfunctory and had no aesthetics.

Audiences have been suffering from the same old costume looks for a long time, and the appearance of many actors has indeed been dragged down by this style. But it is obvious that many TV dramas have made efforts in ancient costume styling, especially hairstyles and hair accessories, based on the suggestions of netizens. However, in these works, the audience discovered another problem, that is, the actor's manners.

The most eye-catching thing about Ju Jingyi 's costume drama "The Legend of Jianan " is Ju Jingyi's appearance, and more importantly, Ju Jingyi in this drama, in terms of hairstyle and hair accessories, is like The same budget as for all other characters was used to display delicacy and liveliness to the extreme.

But it is a pity that Ju Jingyi, who was born as an idol, obviously did not learn much about ancient costume etiquette. Some of her small movements in the play are magnified countless times by the various trivial and exquisite objects on the headdress. The final effect is to shake her head and head, just like a modern person wearing ancient costumes and traveling through time.

However, the headwear is also complicated, but Liu Yifei and Lin Yun in " Meng Hua Lu " can be gorgeous but not vulgar, dynamic but not chaotic.

From the perspective of styling, Liu Yifei and Lin Yun's hair accessories in episode 33 are obviously more complicated. The hair is raised high and the hair bags are filled with accessories. Just looking at the proportions, the presence of the hair is even stronger than the actors' facial features.

And their hair also has trivial steps in the middle. When they move lightly, they jingle and sway slightly.

In fact, in addition to the decorative role of ancient women's step crowns, they also had a function of restricting women's movements. The shaking of and will make women behave more restrained and dignified. Compared with Ju Jingyi's swaying and flying in costume dramas, the postures of Liu Yifei and Lin Yun in costume dramas are actually more in line with the behavior of women at that time. Behavior and manners.

The reason why the two of them can be gorgeous but not vulgar, dynamic but not chaotic is precisely because of their eyes and deliberately "converged" acting skills.

In the eye scene, the audience could not see the word "kitsch" in the eyes of Liu Yifei and Lin Yun. Even in the eyes of the performer, the audience can only see her confidence in her own piano skills. Even the supporting character Zhang Haohao, who takes fame and fortune so seriously, only has arrogance in his eyes, not the contempt of a prostitute.

Moreover, Liu Yifei, who plays Zhao Pan'er, is already a star in ancient costume fairy tales. In the past, Zhao Ling'er and Wang Yuyan were typical ancient beauties.

Liu Yifei is actually very familiar with the walking posture of ancient women. Moreover, in the film and television environment where many actresses pursue right-angled shoulders, Liu Yifei's shoulders are more natural and more suitable for costumes in costume dramas. In the camera, she has a slender neck and an upright upper body. She restrains her movements at all times and holds her chest out and her head raised.

The posture of modern people with feet wider than shoulders, hands on hips and hips, hunched back and chest folded, would not appear on Liu Yifei's body.

As for Lin Yun, he has grasped the essence of the character. You know, the character Song Yinzhang has always been a woman from Leji. She relies on her skills and beauty to make a living. Although I don't sell my looks, I have been studying how to show off my charm on stage since I was a child.

In "Meng Hua Lu", Lin Yun also wears her hair in a high bun, but unlike Ju Jingyi, her whole body is trembling. She sat upright, holding the pipa in her hands and stroking the strings. Occasionally he raises his head and turns his head, but the range of motion is not large, and when he turns his head, he only moves slightly.Therefore, the walking crown on her head will sway gently with the movement of her head, but it will not run around wildly or even get entangled.

To put it bluntly, Liu Yifei and Lin Yun’s appearance in costume dramas is based on their grasp and shaping of the characters. As the heroine, Liu Yifei has been the most attractive character since the TV series was launched. When she plays a country woman, she is an ordinary woman who rolls up her sleeves and does it. But after coming to Tokyo, her clothing and style have changed significantly, and her demeanor has become more stable.

From a commoner to the owner of a wealthy tea house in Tokyo, the higher the status of the character Liu Yifei plays, the more dignified and decent she becomes.

In fact, Lin Yun also had some mishandled aspects in the play that caused controversy. Take her highlight scene as an example. The scene that reveals Shen Ruzhuo's true face can be said to be the most famous scene in the later years of the character Yin Zhang.

However, Lin Yun's original lines, expressions, and movements did not have enough tension to set off the atmosphere of this scene. Of course, this scene is absolutely wonderful, but Lin Yun's performance is too restrained and lacks a bit of domineering and dark courage. From the audience's point of view, the introduction, which reveals Shen Ruzhuo's thoughts, is still a bit weak in momentum.

However, the audience has to admit that although Lin Yun's performance in some scenes with strong emotions is not good enough, she did grasp the essence of the ancients. When speaking and doing things, her tone is soft and her posture is graceful. Especially when she plays the pipa, she has the charm of an ancient beauty.

Thinking about it now, what the audience wants to see is not just the costumes with various postures, but also beauties with online temperament to control these roles. Of course, deportment can be changed through acquired efforts, just like Lin Yun, who was so bluffing in "Mermaid", became much gentler in "Menghualu".

The problem with Ju Jingyi is actually just that there are too many modern little tricks in the performance. These small actions will dilute the charm of ancient costumes and affect the look and feel. But it is also the easiest place to correct and improve. As long as the actors pay a little attention and the director guides carefully, any trivial steps can become swaying instead of flying around.

Finally, the author would like to say that the success of "Menghualu" has actually shown that the aesthetics of domestic ancient puppets are always online. The key is whether the production of Guwu can show the same sincerity as "Menghualu" and focus more on polishing the script and convincing design instead of hype and marketing.

In short, I still hope that "Menghualu", as a popular ancient puppet show in the past two years, can set off a wave of being rolled into like "Three Lives Three Worlds Ten Miles of Peach Blossom" back then, but this time it is not a style plot. But make sincerity.