Performance is a lifetime of catharsis

Performance is a lifetime of catharsis

Some people say that Malone Brando is the greatest American film player in history. Such an absolute judgment in the art field may not be appropriate, but Brando's watershed significance for film performances is undeniable.

Brando won the Best Actor Award for two times, namely, "code Storm" and "Godfather". In addition, he has at least five Oscar-qualified roles in films, including "Desire Streetcar", "Long live sabada", "charter party", "Last Tango in Paris", and "Modern Revelation". This achievement is never too low for a Hollywood actress, but it cannot be too high as the number of failures.

From the perspective of performance arts, branddu has put the "method school" into the superb position. This is the performance theory established by Stanislavski in the 1920s S. It was spread to New York in the 1940 s, and the performance instructor of branddu, Stella Adler, is an enthusiastic disseminator of this theory.

The methodology School emphasizes the inner feelings of actors. By understanding the personality and environment of the role, they can understand the motivation and Internal Force of the role, that is, what we often hear about "entering the role ". Brando was not the first method to assign an actor, but when his professionalism met a proper role, it would have a general effect. Kovas in desire Streetcar is such a role: violent, gloomy, and sexy. The 23-Year-Old Brando created kavski on the Broadway stage, and the 27-Year-Old moved the role onto the screen.

The learning method is like a religious ritual, and the atmosphere needs to be brewed, but it is a natural thing for Brando. According to the memories of his classmates and teachers at that time, he almost had to explain it. Acting is not a kind of skill, but a kind of catharsis. He despised the performance skills in his life, and the root cause was that he needed to "perform" from an early age ".

Brando's artistic history is largely in line with his theory. His father is a drunkard and his mother likes his cup and seldom cares for him. In particular, his father never said a compliment to him. So he needs to pretend to be his real self and put on a mask that is easy for his parents to accept ". Brando once revealed that when his father died, he wanted to stay with his father for a few minutes and "tear his ears down and eat them in front of him ".

This is the inspiration for the most exciting performances of the 1950 s, although neither sunshine nor happiness. Resentment is the inner devil that will always swallow branddu, And the catharsis with dramatic characters is an effective way to clear this demon. He brought the original colors of his emotions into the play, making the original sophisticated method school performances very impromptu, true color, and nervous. "As the main character, brandy in the early 1950s s had no password for the performance and had only instinct," the authoritative movie critic Baolin Kyle once said ."

This does not mean that brandy belongs to the true color school. He knows performance theory, but does not care about it. He used to go deep into his life, taking root in army hospitals for weeks for the first screen role, but many roles have been sleepwalking since the 1950 s. He does not even deny it.

After several nominations, Brando finally won the Oscar winner in 1954 with "code Storm. He has become the authority of the Film Hall, and cannot fight against the Authority (symbol of his father) from time to time from the point of view of the rebels. At this time, he no longer plays the role of clearing his demons, but it becomes a cash tree. He still wants to rebel, but the only way to do it is to not cooperate or deliberately mess up his work. A typical example of the Year 1962 "spid" is that the film, under branddu's lust, experienced a severe timeout overspending and overweight (he gained 40 lbs in a few months ), even President Kennedy was inquiring about "what happened to the cast ".

After that, no film company dared to ask him to participate in the big production process. After 10 years, copola insisted on him to be named "Godfather" from Paramount. He not only agreed to pay for 0.25 million yuan (about the fraction of his previous payment), but even agreed to accept auditions that were almost insulting to him. At this time, he seemed to need to challenge the authority and prove that their views on "brandic" were wrong.

Branddu's art "the second spring" has only three masterpiece. All three roles are connected with him and can sublimate his inner volcano: A strategizing, out-of-control parent (godfather), a stranger abandoned by family members (Last Tango in Paris) and a madman directing the jungle rebels and completely irrational (Modern Revelation).

In the ideal world, Modern Revelation should be the collection of mountains by Malone Brando. "Terror, terror" can be either a fear of self-destruction or a marvel at his genius. However, Brandos, which have lost their meaning, have no motivation for artistic creation at all. He admitted that filming is for money. If the film dealer gives him the same amount of money, let him sweep the floor. Although Superman and other films do not need him to sweep the floor, the nature is almost: the small supporting role of 4 million credits, in exchange for peer and audience disdain.

But money cannot buy happiness. When a son kills and his daughter commits suicide, family members reveal the genetic tragedy of bad habits. Brando could not forgive his father for not giving his father love, but when it was his turn to be a father, fate had a reincarnation. His daughter said, "I began to hate my father because when I was a child, he ignored me ." Even more sadly, branddu was not aware of his daughter's dissatisfaction. He said, "I want to be a good father ."

In old age, what else did Brando play well? The biggest fear is an interview with CNN host Jack Jin. He complained that Hollywood was controlled by Jews who lacked social responsibility. After the program was broadcast, the Jews organized a protest. branddu publicly apologized and burst into tears. He also spoke a few yarn. After careful analysis, the performance was a little respectable-he dared to offend those in power, but also a little sad-whether the tears and the Yiddish were a method school or a pure skill? This is a group of heroes and clown roles, just like Shakespeare's forstav.

Brando said in his speech "Last Tango in Paris" that a good performance is very frustrating, so he does not want to overdraw himself for a movie. However, if no virtual role is used to "blow off" him, his public appearance will become an indispensable performance. Just like his childhood "Pretend" in front of his parents, his position has long changed, he is no longer a person under pressure, but eventually hurt himself and the people around him.

This is the path of life shared by crazy geniuses!

Transfer from an unintentional web page

Why Should everyone wear a mask to play a scene that they do not want to play?