On December 24, the second episode of the variety show "Infinite Transcendence Class" was broadcast on Zhejiang Satellite TV . In this issue, many young mainland actors appeared on stage and performed excerpts from three popular Hong Kong film and television dramas. These three clips, except for the "Golden Branch Desire" first released by and Han Xue and , are just watchable, the other two are all farce versions of each other. Why does such a problem occur?
Here, first of all, I would like to correct a common mistake made by several Hong Kong actors on the stage of "The Unparalleled Class". The Hong Kong dramas that appeared in this variety show are not classics, but some of them have been popular. In the serious concept of film and television drama reviews, hits and classics are two different things. Hong Kong drama workers who are overly commercial may still not understand this common sense concept. Therefore, some popular Hong Kong dramas are regarded as classics. This is a serious misreading of classic film and television dramas.
Next, we can talk about why young mainland actors performing these Hong Kong dramas give the audience a strong sense of farce. Let’s first talk about why Han Xue’s “Golden Branch Desire” is relatively better? Because Han Xue and his team behind the scenes were smart, Han Xue chose the performance method of pronunciation of Cantonese lines. This kind of pronunciation brings Han Xue's performance as much as possible into the performance characteristics of Hong Kong opera, thereby minimizing the audience's chances of being distracted and making the play less like a farce.
In the next two works, the performances of several young actors were not even satisfactory. The second work, "Up to the Sky" turned the performance of two young actors into an idol drama. The third work, "Apostle Walker" made Shen Yue and Fan Shiqi look very different. Why is this happening? Here, of course, we must be the first to admit that some of our young actors just have no acting skills, or in other words, no more acting skills. However, at the same time, the more important point is that the performance methods taught in professional film and television performance schools such as our film academy, , Chinese Opera, Shanghai Opera and other professional film and television performance schools are themselves in the style of mainland film and television dramas and are not suitable for Hong Kong dramas.
In the same way, the acting methods and methods taught in Hong Kong's wireless training classes are unique to Hong Kong film and television dramas. Although Hong Kong dramas, mainland dramas, Taiwanese dramas, etc. are all types of TV dramas for us Chinese, the three major categories of Chinese TV dramas and their own styles and characteristics constitute the variety of Chinese TV dramas. Hong Kong dramas and mainland dramas also have differences in script writing and actor performance. These differences, whether in creation or performance, are not easy to overcome.
Let’s first talk about the creative characteristics of Hong Kong dramas. In fact, many seniors in Hong Kong’s literary and artistic theory have also summarized and reflected on it. Hong Kong dramas and films, from the very beginning, have been purely commercial models. Audiences and fans can broadcast them however they like. In terms of specific narratives, they are dominated by fierce conflicts. Therefore, Hong Kong dramas and films lack a lot of realism. In the initial stage of film and television dramas, Hong Kong dramas and films were able to quickly gain a large number of audiences and fans because of their fierce conflicts. However, in the rising stage of film and television dramas, Hong Kong dramas and films can easily fall into disrepair. A typical example of
is that in recent years, there are basically no good works in Hong Kong dramas. Even Hong Kong dramas that focus on commercialization can no longer produce works with high viewership. In terms of Hong Kong films, especially when Hong Kong movies first came north, there were a lot of bad films. After leaving the Hong Kong cultural ecosystem of Hong Kong films, the Hong Kong films that went north instantly became farce films. This is a film and television drama phenomenon that everyone began to study ten years ago.
Because of the pursuit of commercial maximization, in the specific performances of actors, Hong Kong dramas and films are mainly exaggerated. This performance characteristic has been well inherited by Thai dramas recently. The slightly exaggerated performance style of Hong Kong actors will not be acclimated to our mainland scripts.For example, in the first season of " Happy Comedian ", the famous Hong Kong actor Sandra Ng came to compete and performed several works, but none of them were funny, like farce. Why? I just got a script that didn’t fit my acting style.
In the same way, if the well-known Hong Kong actors who boasted on the stage of "Infinite Transcendence" were allowed to perform many truly classic scripts from our mainland, they would still give up. Take the more classic mainland TV series in the past two years (these are true classics, not pretending to be classics by broadcasting numbers), such as "White Deer Plain ", " Installation Taiwan " and " Human World ". Let Hui Yinghong choose any role and plot. Can she perform any of them well?
The so-called veteran Hong Kong actors on the stage of "Infinite Transcendence Class", one by one, let them act in any scene from "White Deer Plain", "The Stage" and "The World", let them choose at will, and none of them will not perform it into a farce. More than ten years ago, when Hong Kong filmmakers collectively went north, were there still too few farces? Obviously, they can't play the classics among mainland dramas.
To put it another way, can young actors trained by mainland film and television schools be able to act in Hong Kong-style film and television dramas? Obviously it won't work, because the performance style and the script style are incompatible and conflicting. Zhejiang Satellite TV's "Infinite Transcendence Class" allows young actors from mainland China to perform Hong Kong film and television dramas, which is obviously putting the cart before the horse. On the stage, those Hong Kong actors who boasted about their acting skills left their comfort zones and performed several classic scenes from mainland dramas for everyone to see. They were all acting novices.
Based on this, Zhejiang Satellite TV’s variety show can only allow the audience to see more farce-style works. This kind of farce is just like in our traditional Chinese opera, those who sing Hebei Bangzi must sing Peking Opera, those who sing Peking Opera must sing Huangmei Opera, and those who sing Huangmei Opera must sing Qinqiang Opera. Although they are all members of Chinese opera, they each have their own artistic characteristics and singing methods. The same is true for Hong Kong dramas and mainland dramas.
In "Infinite Transcendence Class", what makes the editor think the funniest thing is that these Hong Kong actors regard their acting skills as mentors for others. As everyone knows, after leaving Hong Kong film and television culture, these Hong Kong actors can't even play a clown well. Nowadays, Hong Kong dramas are in decline, and many Hong Kong drama actors are almost out of food. At this time, Hong Kong drama actors are not criticizing the performances of mainland actors, but they should quickly save their own Hong Kong drama screenwriters. They can no longer write good scripts. Without good Hong Kong drama scripts, these Hong Kong drama actors will inevitably become one joke after another when they come to act in mainland dramas. For those Hong Kong drama and film actors who come to the north to take on roles, do they still make too few jokes? (Text/Ma Qingyun)
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-